Ruggedman Criticises Afrobeats Tag Says It Masks Lack of Talent
Nigerian rapper Ruggedman has voiced strong criticism over the widespread use of the term “Afrobeats” as a blanket label for African music, arguing that it does not reflect the true diversity of the continent’s sound.
In an interview with Day Genius, Ruggedman explained that the Afrobeats tag is often used to classify a wide range of artists, including those he believes rely heavily on repetitive sounds rather than strong musical ability. He suggested that the label has, in some cases, become a cover for lack of originality.
According to him, many artists associated with Afrobeats struggle with live performance skills and freestyling. He attributed this to an over-reliance on autotune and pre-recorded production techniques, which he believes limits their ability to perform authentically on stage.
Ruggedman also expressed concern that the term “Afrobeats” is used internationally to group all African music under one category. He noted that when African artists perform abroad, they are often automatically labelled as Afrobeats musicians, regardless of their specific genre.
He argued that this generalisation was largely influenced by audiences and industry trends in places like the United Kingdom, where African music is often simplified into a single category for easier identification and marketing.
The rapper further stated that the Afrobeats label, as commonly used today, can sometimes overshadow the richness and variety of African music genres. He believes this reduces the recognition of different styles and cultural expressions within the continent’s music scene.
Ruggedman also commented on the process of making Afrobeats music, claiming that some artists focus more on catchy beats, street slang, and repetitive lyrics rather than musical depth or creativity. He suggested that heavy promotion often plays a bigger role than talent in achieving commercial success.
His remarks have added to ongoing conversations within the music industry about the definition of Afrobeats and how African music is categorized globally. While the genre has gained international recognition, debates continue over its scope and representation.
Despite his criticism, Ruggedman’s comments highlight broader discussions about authenticity, artistic standards, and the global perception of African music as it continues to grow on the world stage.
