Afrobeats star Davido has once again spoken about his invaluable role in the rise of the afrobeats genre, asserting that it is impossible to mention the genre without acknowledging his influence. In an exclusive interview with TheBeatJuice magazine, the singer and songwriter discussed his contributions to the genre and his thoughts on the way African music is categorized globally.
“Afrobeats can’t be brought up without my name. Impossible,” Davido confidently declared in the interview. His statement reflects his deep belief in the impact he has had on the genre, which has grown into a global musical movement over the past decade. As one of the biggest stars of the genre, Davido’s comment emphasizes his prominent role in pushing African music to international recognition.
While many fans and music industry experts consider Davido to be one of the leading figures in the afrobeats movement alongside fellow superstars Wizkid and Burna Boy, Davido has had mixed feelings about being fully associated with the genre. Despite his undeniable contributions to afrobeats, he has also expressed reservations about the way African music is categorized in the global market.
In a previous appearance on the Business Untitled Podcast, Davido discussed his discomfort with the broad classification of all African artists as “afrobeats” musicians, regardless of their individual musical styles. “We get boxed into this one thing,” he said, lamenting how artists from various African countries and musical backgrounds are often lumped together under the afrobeats umbrella.
According to Davido, the genre classification doesn’t always reflect the diversity of African music. “It doesn’t matter if you are doing highlife, dancehall, or something else — you are just an afrobeats artist,” he explained. This generalization, he believes, oversimplifies the rich and varied nature of African music.
Though he feels the genre categorization can be limiting, Davido stressed that he is not offended by being labeled an afrobeats artist. “I don’t get offended when we’ve been categorized as Afrobeats,” he clarified. “I mean, we need a genre. It could be R&B or Afropop.” For Davido, the important thing is that African music has finally earned a mainstream presence and recognition across the world.
Despite his reservations, Davido acknowledged that the afrobeats label has played a key role in bringing African music into the global spotlight. “I know how long it took for African music to become mainstream,” he said, reflecting on the decades of hard work by artists, producers, and industry figures who have helped to shape the African music scene into what it is today.
In line with his personal musical evolution, Davido prefers the term “afro-fusion” to describe his music. The term, which blends various African sounds and genres, reflects his eclectic style and his ability to merge traditional African rhythms with contemporary global influences. “I call my music Afrofusion but I’m not big on ‘O put Afrofusion on my song,’” he added, noting that his primary focus is on the sound itself rather than the label attached to it.
This perspective aligns with Davido’s broader philosophy about music. For him, the music itself is more important than the categories it falls under. He believes that as long as the music resonates with audiences and represents African culture, the genre tag is secondary. “I want to focus on making good music, not necessarily being defined by one specific genre,” he stated.
As one of the leading voices in the global success of afrobeats, Davido’s perspective on the genre adds a layer of complexity to the ongoing debate about how African music is defined internationally. His influence on the industry, however, cannot be denied. Hits like “Skelewu,” “Fall,” and “If” have cemented his position as one of the biggest stars to emerge from the African continent in recent years.
In the TheBeatJuice interview, Davido also shared his excitement about the future of African music. He believes that the genre’s growing international recognition will continue to inspire future generations of artists, both within Africa and globally. “The world is paying attention now, and that’s just the beginning,” he said optimistically.
