In philosophy, nuance is the subtle distinction that reveals truth beyond the surface & binds complexity and meaning. To understand nuance is to recognise that truth rarely resides in certainty alone, but often in the spaces between contradictions. This idea of nuance is crucial when revisiting an ongoing debate in the Afrobeats ecosystem: the supposed need for a “reset”
This rhetoric has been one of the most recycled conversations in the scene, resurfacing repeatedly over the past few months. Most recently, it was reignited by a user on X (formerly Twitter), prompting another round of reflection. To properly analyse this claim, we must first understand what a “reset” entails.
By definition, a reset is the act of moving something back to its original position. In the context of Afrobeats, this would suggest returning the music to its earlier roots—its raw, unfiltered beginnings. On the surface, this sounds both ambitious and culturally significant. But the critical question remains: are the artists and listeners genuinely prepared to embrace such a shift?
.jpg)
Take, for instance, Rema’s sophomore album HEIS, released last year. It stood as one of the most culturally grounded projects from a mainstream act in recent memory.
The album was critically acclaimed and heralded by some as the very reset the scene needed. Yet, barely a year later, the conversation resurfaces. Why? Perhaps because Rema himself did not fully commit to the path he signalled, or perhaps because consumers were unwilling to buy into it. Either way, a reset cannot be sustained by claims alone; it requires collective participation.
.jpg)
Asake’s career provides a telling counterexample. His debut album, Mr. Money With the Vibe, introduced a distinctive sonic identity, the ever-present and unique background vocals, heavy Yoruba inflexions, and a fusion of indigenous textures. Crucially, he doubled down on this aesthetic with subsequent projects, Work of Art and Lungu Boy. His persistence ensured that what might have been a passing experiment became a recognisable influence, still shaping the sound of Afrobeats today. The lesson here is clear: a reset demands commitment from artists who are willing to define a path, and it equally demands acceptance from listeners who are willing to journey with them.
.jpg)
Another layer of nuance is the criticism that the scene lacks experimentation or intentionality. While not entirely unfounded, this perspective overlooks a larger truth about the music industry globally. Hundreds of songs are released daily, and not all will strike gold. Experimental projects & records exist, but they are often drowned in the noise of mainstream output. It is ultimately the listener’s responsibility to sift through the abundance and discover the gems. Fatigue may occur, but that reflects personal listening habits rather than a structural flaw in Afrobeats itself. Moreover, mainstream pop acts all over the world rarely deliver pure experimentation. Their survival depends on balancing artistic expression with broad audience appeal, so if the need for exceptional sonic innovation exists, the pop figures might not be the go-to for that.
Thus, when the call for an Afrobeats reset resurfaces, it often reads less like a genuine cultural imperative and more like a convenient excuse. The reality is that no music scene can remain at peak intensity perpetually. Like all cultural movements, Afrobeats will experience cycles of growth, experimentation, and consolidation. Instead of longing for a mythical “reset”, perhaps the more nuanced approach is to recognise these cycles, encourage intentional artistry, and accept that not every moment will feel revolutionary.
The scene doesn’t need a reset; it needs patience, perspective, and the willingness to appreciate evolution as it happens.
