By Sola Adekunle
Music is a work of art. It is an intangible substance that levitates the souls of humans to realms unseen, untouched, and unknown; at times, it becomes a path where feeling—the only portal to our deeper connections—gets lost. Since art is a reflection of human experiences and imagination, which provokes thoughts and spurs emotions, the need for its checks is essential.
The African arts, of which our music is integral, can never be fully understood by Europeans, because even with beauty are the sweat, pain, torture, lies, and more—these have been our experiences before and after colonialism. Therefore, music criticism, the evaluation, analysis, and interpretation of music, typically involving the discussion of musical performances, recordings, and compositions, can never be overemphasized.
Music criticism in Nigeria has undergone significant evolution, shaped by cultural, social, and technological shifts over the decades. Before Nigeria’s independence, the colonialists’ music criticisms were largely forms of documentation. European ethnomusicologists who understood highlife and their own cultural arts could not criticize the arts because their views obviously lacked a nuanced understanding of the surreal expressions covered by the veils of art. The rights of music critics could only be given to respected elders of the cultural societies who understood the communal practices during rituals and festivals. Then, oratory was instrumental in the churning out of musical or other artistic reviews. The styling of the voice and the evocative use of words all seemed to be primitive storytelling rites; yet, even today, they remain relevant speaking skills.
The events of 1960 ignited a cultural renaissance in Nigeria’s music scene. As the country celebrated its independence, highlife music was evolving, and Afrobeats was just beginning to emerge. This decade marked the onset of more structured music criticism in Nigeria, with music magazines, radio stations, and newspapers starting to publish articles about artists, albums, and live performances. Among the most respected music critics of the time was Benson Idonije, a prominent Nigerian broadcaster known for being Fela Anikulapo’s first band manager and a founding member of Radio Nigeria II in 1977. He is also the grandfather of the renowned Afrobeats artist Burna Boy.
In the 1980s and 1990s, Afropop experienced a surge in popularity, with artists like Onyeka Onwenu, King Sunny Ade, and Fela Kuti leading the charge. Music journalism gained traction, with newspapers such as The Guardian and Punch regularly publishing music reviews. Critics began to delve into wider themes, including social commentary in music, political activism, and the impact of global influences on Nigerian sounds. Radio and television played a crucial role in promoting artists and shaping public opinion. Shows like the Nigerian version of “Top of the Pops” and “Music Africa” became key platforms for critique, with hosts providing insights on new releases and performances. Music videos also emerged as a significant element, shaping both critics’ and the public’s perception of artists’ creativity.
The rise of digital media in the early 2000s marked a new era for Nigerian music criticism. Blogs such as NotJustOk, 360Nobs, Jaguda, BellaNaija, and TooXclusive disrupted traditional gatekeepers, offering platforms for critics to express their opinions. This period saw rapid technological advancements and the emergence of social media, enabling fans to engage directly with artists. Twitter (now X) became a hub for music debates, while YouTube allowed critics to analyze videos and performances. The democratization of music criticism opened the field to more voices, regardless of formal education or journalistic background. As Afrobeats gained global recognition, streaming platforms like Apple Music, Spotify, and Boomplay facilitated easier access to music for critics. Artists like Wizkid, Burna Boy, and Davido expanded the reach of Nigerian music, leading to reviews on international platforms like Pitchfork, Rolling Stone, and Billboard.
Today, music criticism in Nigeria has evolved to become more diverse and nuanced. Critics delve into the technical intricacies of music production, the blending of different genres, and the influence of Nigerian music on global pop culture. Additionally, there is an increasing emphasis on the business aspects of the industry, with critics examining record deals, artist management, and the economics of streaming. Platforms such as Pulse Nigeria, The Native Magazine, and Afrocritik provide in-depth reviews, features, and interviews, offering a more analytical perspective on the Nigerian music scene. Podcasts and YouTube channels have also gained popularity, serving as platforms for critics to engage in more conversational discussions. Much like Benson Idonije in earlier times, contemporary critics continue to shape and influence the discourse around Nigerian music.
One notable figure is Osagie Alonge, a respected Nigerian media personality, journalist, and music critic, widely recognized for his deep insights into the country’s music industry. With a background in journalism and mass communication, Alonge began making his mark as Editor-in-Chief of Pulse Nigeria, where he played a significant role in shaping the platform’s approach to entertainment, pop culture, and music coverage. His knack for breaking down the industry’s trends and challenges has earned him a reputation as a trusted voice in Nigerian music commentary. Alonge’s thoughtful and in-depth analysis has made him a central figure in shaping the conversation around the industry.
Renowned for his outspoken role on the “Loose Talk” Podcast, Alonge and his co-hosts dive into candid and often provocative discussions about the Nigerian music scene. Known for their raw, unfiltered perspectives on artists, industry trends, and the business side of music, Alonge’s critiques—while sometimes controversial—are grounded in thorough research and a genuine commitment to improving the industry. Despite occasional backlash from both artists and fans, he remains a steadfast advocate for stronger industry structures, artist development, and the preservation of Nigeria’s musical heritage. His influence has sparked crucial conversations about creating a more sustainable and organized music industry for future generations.
Joey Akan is a distinguished journalist and media consultant who has made a significant impact in the African music and entertainment sector. With more than ten years of experience, he has carved a niche for himself as a prominent commentator on various topics, including African music, urban pop culture, politics, sports, race, gender, and sexuality. His expertise is sought after by major record labels, musicians, actors, and creatives, for whom he provides customized advice on A&R, communications, and promotional strategies.
Joey is the founder of Afrobeats Intelligence, a popular podcast with over a million streams, and serves as the Entertainment Editor for News Central TV and West African Arts & Culture Commissioning Editor at The Conversation Africa. His work has appeared in renowned publications like The New York Times, The FADER, Quartz, The New Yorker, Mail & Guardian, DJBooth, Pulse, Guardian, OkayAfrica, Highsnobiety, and CNN. He has reported on significant events such as the MTV Africa Music Awards and The Headies. As a member of the awarding academy for prestigious awards like the MOBOs and MAMAs, and with over five years as Music Editor at Pulse Nigeria, Joey has established himself as a leading voice in the Afrobeats scene and the entertainment industry, driving A&R and media initiatives for major labels.
Dami Ajayi stands out as a prominent figure in West African music, particularly noted for his insightful critiques of Afrobeats. His journey into music writing began in 2007, reflecting both his personal and professional connections to the genre, which serves as a soundtrack to his formative years. As a psychiatrist, poet, and cultural critic, Dami Ajayi intricately weaves his literary background and lived experiences into his commentary, offering a unique lens through which to examine the cultural significance and evolution of Afrobeats.
Dami Ajayi has held key roles in major Nigerian cultural publications throughout his career. From 2014 to 2016, he contributed music reviews and features for OlisaTV magazine, and from 2017 to 2019, he wrote the “The Good Doctor” column for This is Lagos, focusing on music. In 2019, he co-founded The Lagos Review, where he curates its Music section. His work has appeared in notable outlets such as Africa Report, Chimurenga Chronic, and Global Voices, with his insights featured in international publications like the Financial Times and Al Jazeera. Dami Ajayi’s analysis has made him a prominent voice in documenting the rise of Afrobeats both in West Africa and globally.
Emmanuel Daraloye stands out as an eminent figure in Nigerian music journalism, significantly influencing the African music landscape. With a career that spans over a decade, he has authored more than 1,000 music reviews, showcasing his deep understanding of the industry. His insightful commentary on contemporary African music has garnered considerable acclaim through various platforms. His writing is known for its conciseness, and depth, providing a nuanced perspective on the cultural significance and evolution of the continent’s diverse musical expressions.
Emmanuel Daraloye began his career in broadcasting, working as a newscaster and on-air personality at stations like Arbico FM, EKI 100.9 FM, and King Sunny Ade’s Music & Culture 106.5 FM from 2015 to 2019. This experience honed his ability to articulate complex musical ideas. He later founded AfroReview, a newsletter focused on African music, blending journalistic precision with music criticism. His work has been featured in NotJustOk, TheCable, The Lagos Review, Vanguard, The Guardian, ModernGhana, Legit.ng, and the Nigerian Tribune. Emmanuel Daraloye is recognized for shaping the narrative of African music and advancing the field of music criticism. Emmanuel Daraloye has recently transitioned into public relations, utilizing his diverse skills to amplify artists’ voices and promote African culture. This move enhances his role in music criticism and establishes him as a key figure in the evolving African media landscape.
Oyebanji Akin, also known as Olumide E. Akinlolu, is a Nigerian-U.S. based music critic, podcaster, writer, and influencer whose voice resonates across the global music scene. As a seasoned commentator on African and Black diaspora music, Akin’s insights offer a unique blend of cultural depth and global perspective. His review of Burna Boy’s album “I Told Them,” became a sensation on Twitter (X), amassing nearly a million impressions and establishing him as a key voice in Afrobeats critique. With three degrees in Accounting (Nigeria), an MBA (Malaysia), and Cybersecurity (USA), Akin’s academic foundation is diverse, but music has always been his true passion. His background as a skilled DJ, curating soundtracks for private events, gives him a firsthand understanding of the intricacies of sound and audience engagement, which further enriches his critical analysis.
Akin’s journey as a music critic is deeply intertwined with his lived experiences across four continents—Africa, Asia, Europe, and North America—allowing him to appreciate and critique music with a global lens. His expertise extends beyond Afrobeats, as he explores genres across cultures, always with an eye for authenticity and artistic innovation. His parents instilled in him the importance of education and authenticity, two values that fuel his critical eye. Akin’s critiques don’t just evaluate music; they celebrate the stories and emotions woven into each beat. His upcoming book, “Billion Dollar Dreams: From Nigeria to America,” promises to showcase his journey and provide an insider’s view of how music and culture intersect in his work as both a critic and an entrepreneur.
In essence, music criticism in Nigeria has transformed from a reflection of cultural traditions into a lively conversation that influences the industry today. Critics delve into the nuances of Nigerian music, offering insights that deepen our appreciation of its cultural roots and global influence. This ongoing dialogue honors the rich heritage of African music while inspiring future generations of artists and critics to innovate and create.