The ever-charismatic Akon, a Senegalese-American titan whose own music undeniably shaped the global soundscape of the 2000s, recently made a statement on Sherri Shepherd’s talk show that has had the Afro music sphere buzzing:
“We created Afrobeats. We signed Wizkid in 2008, and from there, we helped develop artistes like P-Square and D’Banj.”
It’s a bold assertion, and one that warrants a closer look—particularly for an audience as discerning and deeply connected to the genre’s roots as ours.
Akon’s Influence: Undeniable but Not Originating?
Akon’s Konvict Muzik label, and later KonLive Distribution, undoubtedly played a pivotal role in elevating African talent when the international spotlight was still dim. His vision in looking towards the continent was, without question, ahead of the curve for many in the Western music industry.
But did Akon create Afrobeats?
The Roots of Afrobeats: A Sound Born in Africa
To answer that, we must journey back to the early to mid-2000s. Afrobeats, as we understand it today (distinct from Fela Kuti’s Afrobeat), was already a vibrant, burgeoning sound bubbling up from the streets and studios of Lagos, Accra, and other West African capitals. It was an organic fusion, a rich musical tapestry woven from threads of hiplife, highlife, hip-hop, R&B, dancehall, and traditional African rhythms. Producers like Don Jazzy, ID Cabasa, Terry G, and others were instrumental in crafting this new sound, whilst artists such as 2Face Idibia (now 2Baba), P-Square, D’Banj, Styl-Plus, and many more were its pioneering voices, captivating audiences across Africa long before the international gaze sharpened.
Akon’s Real Role: Amplifier, Not Architect
Akon’s involvement, particularly with Wizkid, was indeed significant. Whilst the “2008” signing date for Wizkid to Konvict might be slightly different from other accounts (Wizkid’s breakout in Nigeria with EME under Banky W was around 2010-2011, with Akon’s interest becoming prominent thereafter), Akon’s co-sign and efforts to introduce him to the US market were crucial for Wizkid’s early international exposure. Similarly, his collaborations with P-Square (“Chop My Money (Remix)“) and D’Banj (“Oliver Twist” remix features, though D’Banj was with Kanye’s G.O.O.D. Music then) certainly amplified their reach and helped bridge the gap between African sounds and global audiences. These moves were game-changing for the international visibility of these artists.
So, is Akon right?
If “created” means birthing the genre from scratch, then no, that would be an overstatement. Afrobeats was already a living, breathing entity, forged by the ingenuity and talent within Africa. Its foundations were laid by numerous artists and producers who cultivated the sound on home soil.
However, if we interpret Akon’s statement as highlighting his role in catalysing the international recognition and commercial viability of Afrobeats stars, then there’s undeniable truth there. He was one of the earliest, most high-profile figures from the Western mainstream to actively invest in and promote African talent on such a scale. He provided a crucial endorsement and pathway when few others were looking. He didn’t lay the first bricks, but he certainly helped build a globally recognised skyscraper on an already solid foundation.
Akon’s contribution was more that of a powerful amplifier and a visionary connector than a foundational creator of the genre itself. Afrobeats’ heart was already beating strongly in Africa; Akon helped ensure the world could hear its rhythm.
And for that, his impact remains a significant chapter in the story of Afrobeats’ global journey.
