In a recent interview on the Drink Champs podcast with hosts N.O.R.
E. and DJ EFN, Buju Banton, a Grammy Award-winning artiste, has expressed his profound disappointment at the “lack of respect and homage” from Afrobeats artistes. He accused them of borrowing heavily from reggae and dancehall without giving proper recognition, a fact that deeply saddened him.
Banton, 51, born Mark Myrie, is one of Jamaica’s most respected and influential artistes. Afrobeats is a popular music genre that blends African sounds with Western styles like hip-hop and dancehall. Nigerian music stars Burna Boy, Rema, and Wizkid have spearheaded its global success.
It (Afrobeats) is often confused with Afrobeat, an older genre pioneered by Fela Kuti in the 1970s that combines traditional African music with jazz and funk. Unlike the dance-oriented Afrobeats, Afrobeat is known for its complex rhythms and political themes. In his interview, the best-selling album artiste argued that the rise of Afrobeats owes much to the influence of Jamaican music, despite claims by some that the genre is wholly distinct from reggae.
“Everyone wants to take from reggae; you want to ostracise us (Jamaican music) and underpay us. Afrobeats did not stem from Africa but from Jamaican influence. I’m sure Afrobeats artistes would say to you, ‘Afrobeats is Afrobeats and has nothing to do with Jamaica,’ we say to them, ‘Our music has everything to do with Africa.
’ We don’t dichotomise, we don’t separate ourselves from Africa, no time, no day. This is because the drum in our music is what speaks to our soul. PREMIUM TIMES delivers fact-based journalism for Nigerians, by Nigerians — and our community of supporters, the readers who donate, make our work possible.
Help us bring you and millions of others in-depth, meticulously researched news and information. It’s essential to acknowledge that news production incurs expenses, and we take pride in never placing our stories behind a prohibitive paywall. Will you support our newsroom with a modest donation to help maintain our commitment to free, accessible news? “In reggae music, there are a lot of culture vultures out there.
We sat and watched reggaeton take reggae music. You’re f***** our music so hard and stolen our culture. I’m knocking nobody, but you don’t give us any respect, and you still expect us to come and act like we took something from you? This is the king’s music,” The iconic dancehall artiste said while referring to Afrobeats musicians.
Though Jamaica is in the Caribbean, its culture, music, and people strongly reflect African roots due to the island’s history of African ancestry. Reggae music, Rastafarian beliefs, and traditional practices echo Jamaica’s deep connection with their African heritage. The singer who broke Bob Marley’s record for the most No.
1 singles in a year in the 1990s also argued that while Afrobeats has risen to prominence, the genre and its practitioners failed to recognise the Jamaican roots that helped shape its sound. “Do they [Afrobeats artistes] give props back to reggae, to dancehall? I don’t think they do..
. They don’t give f*ing props back to dancehall and reggae.” The musician who gained the spotlight in 1992 also highlighted the drum’s role in reggae, symbolising the deep cultural connection between Jamaican music and African traditions.
Reggae has long been a vehicle for championing the causes of African people, from the fight against apartheid to the promotion of pan-Africanism. Despite Afrobeats’ African origins, Banton, whose music touches political topics, lamented that the genre flopped in taking up this mantle effectively like reggae. “The greatest musician out of Africa was Fela Kuti, Lucky Dube from South Africa.
We had Salif Keita. We have Youssou N’Dour. We have Baaba Maal.
Now, no one wanted to go beyond the pale of what those brothers were doing,” Banton said, highlighting the legacy of African artistes who have used their music to address social and political issues. The dancehall artiste also reflected on his personal experiences with African audiences. “I went to Africa in 1991, and I spent three weeks constantly at the universities, educating people from Ghana, all over the continent, about reggae music and dancehall.
But I was happy when they [Africans] came to their senses and realised that music is the bridge that will connect us.” However, Banton expressed disappointment that the connection between Afrobeats and Jamaican music could have been stronger than he had hoped. “But my disappointment was that they [Afrobeats artistes] didn’t try to connect with Jamaica, The Roots.
They tried connecting with everyone else except us. But when you look at what they’re doing, their music is not free in Africa. It’s’fockery—(‘absolute nonsense’),” the singer said.
Who won a Grammy for Best Reggae Album in 2010, lamented that much of today’s music, including Afrobeats, has strayed from the socially conscious roots that once defined African and Jamaican music. “We’ve looked in sub-Saharan Africa, we see Africa rising, the brain of Africa has awakened from Niger all through. We cannot continue on the trajectory we face as if we don’t know who we are.
Our music cannot continue to be uninspiring. ‘‘It’s easy to have anybody listen to you, but what do you say to them? That is the hard part,” Banton continued. “It’s easy for you to have the masses listen to you, but what will you say to them? We’ve gone from a people singing about the freedom they desire, a people singing about the hope of their nation rising to the apex, a hope of their people and the young men realising that it’s a great nation and they need to ‘take the bull by the horn.
’” The six-time Grammy-nominated artiste emphasised reggae’s historical role as a voice for the oppressed, arguing that music must continue to inspire and uplift people. “Reggae music comes from Africa; we get a difference in how we speak our idioms, and the way our cadence comes across is much different because we can bend words and we don’t fully speak English,” Banton explained, highlighting the unique linguistic and cultural elements that make reggae distinct yet profoundly connected to its African roots. The politically conscious musicians urged Afrobeats artists to use their platform to contribute to the liberation and empowerment of African people, much like reggae has done for decades.
“Their [Afrobeats artistes ] music needs to free Africa. If I am in Jamaica and my country and my people fight for free, your continent with word, sound, and power, and you have the ability now, and all you’re singing is mockery?” he questioned, calling for more substance and purpose in the music. Challenging Afrobeats artistes to consider the impact of their work on future generations, the singer said, “We need them to bring this to the forefront of your mind.
Do you want the money? Go get it. But what will be said about you later on, including your posterity? You didn’t make any impact.” Defending the genre’s lasting legacy and ongoing influence on global culture, the 51-year-old singer added, “Reggae music still stands predominant.
It is still the king’s music.” At Premium Times, we firmly believe in the importance of high-quality journalism. Recognizing that not everyone can afford costly news subscriptions, we are dedicated to delivering meticulously researched, fact-checked news that remains freely accessible to all.
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