Grammy-winning Nigerian singer Temilade Openiyi, widely known as Tems, has offered a thoughtful defense of the Afrobeats genre, describing it as a form of escapism rather than a medium for social critique. Her comments come in response to Jamaican reggae legend Buju Banton’s recent disparagement of Afrobeats, which Banton argued lacks substance and will eventually fade.
In a recent episode of the “Shopping The Sneakers” podcast, Buju Banton expressed skepticism about Afrobeats, suggesting that it lacks depth and might not have lasting power. He contrasted Afrobeats with reggae, which he believes carries more profound messages and social commentary.
Tems, who has made a significant impact on the global music scene with hits like “Love Me Jeje,” responded by acknowledging Banton’s perspective while firmly defending the unique role of Afrobeats. “I understand where Buju Banton is coming from,” Tems said. “Reggae is not Afrobeats and Afrobeats in Nigeria is specifically for escapism; that’s the purpose of Afrobeats.”
According to Tems, the essence of Afrobeats is rooted in its ability to provide a respite from the harsh realities of life in Nigeria. The genre is designed to uplift and entertain, offering listeners a break from their everyday struggles. This, she argues, is a valid and valuable function of music.
Afrobeats, which blends traditional African rhythms with contemporary sounds, has become a significant cultural export for Nigeria. It is characterized by its upbeat tempo, infectious melodies, and vibrant rhythms. While it may not always address social issues directly, Tems asserts that its primary role is to offer joy and a sense of escape.
Tems’ comments highlight a broader debate about the purpose of music and its role in society. While genres like reggae and hip-hop often focus on social and political issues, Afrobeats serves a different purpose by providing an outlet for enjoyment and celebration. This does not diminish its value but rather underscores the diversity of musical expressions and their varied impacts on audiences.
The debate between the two genres reflects broader conversations about the evolution of music and its role in contemporary culture. Reggae, with its deep roots in social and political commentary, contrasts with the more celebratory and escapist nature of Afrobeats. Both genres have their place and contribute to the rich tapestry of global music.
Tems’ perspective on Afrobeats also touches on the genre’s cultural significance within Nigeria. Music is an integral part of Nigerian life, often used to mark celebrations, events, and personal milestones. Afrobeats, with its emphasis on rhythm and dance, aligns with this cultural tradition of using music to enhance life’s joyous moments.
As Afrobeats continues to gain international recognition, it faces scrutiny from various quarters. Critics may question its depth or longevity, but Tems’ defense underscores the genre’s importance in providing emotional relief and entertainment. The genre’s ability to resonate with audiences on an emotional level is a testament to its relevance and impact.
The response to Buju Banton’s criticism also highlights the importance of understanding different musical genres within their own contexts. While reggae may focus on social commentary, Afrobeats offers a different kind of value by contributing to the vibrancy of cultural expression and providing an outlet for enjoyment.
Tems’ defense of Afrobeats as a genre of escapism highlights the diverse roles that music can play in people’s lives. While some genres focus on addressing social issues, Afrobeats serves to uplift and entertain, offering a necessary and valuable escape from daily challenges. As the genre continues to evolve and gain prominence, its role in providing joy and relief remains a crucial aspect of its appeal.
