The music industry today operates under a different set of rules than in Fela’s time. Globalisation and commercialisation have created an industry where artists are expected to cater to broader audiences, making it difficult to maintain overt political messaging without facing potential backlash. Many artists are navigating this difficult terrain, balancing their desire for liberation with the need to remain commercially successful.

This isn’t just limited to Afrobeats. In other music scenes, like in Germany, artists like Nura—a Universal-signed artist of Eritrean descent—have spoken out about political issues like the Palestinian conflict, facing tangible consequences such as the cancellation of her shows. Despite the risks, Nura continues to use her platform for activism. “It doesn’t matter to me, the risk to my career,” she said. “I will never stop speaking up for what is right.”

The reality is that today’s artists, particularly those from marginalised communities, are often held to a higher standard when it comes to social and political activism. This pattern reveals a double standard: while white artists can engage with activism on their own terms—often selectively or superficially—Black artists and those from marginalised communities, particularly African musicians, are expected to consistently address the political and social struggles of their audiences. This expectation is both unfair and burdensome, as it adds extra pressure for them to speak out, even when doing so might jeopardise their careers.

With great power comes great responsibility, but how much responsibility should be placed on African artists today? The demands of the modern music industry are relentless, and many artists face the constant pressure to stay relevant in a fast-paced, oversaturated market. With social media algorithms and viral moments often dictating an artist’s success, many find themselves prioritising commercial success over activism.

While some, like Burna and Rema, have chosen to use their platforms to speak out, the expectation that all artists must engage in activism is a heavy burden. “It’s important to use music as a form of expression,” Will McKinney-Raphelt adds, “but music today is very surface-level. Artists shouldn’t be the primary source of information on social issues.” Yet, with influence comes responsibility; artists should at least try to use their platforms to help others, but the decision to engage in activism should ultimately be a personal choice, not an obligation.

In conclusion: Buju Banton’s critique that Afrobeats artists focus on superficial content has merit, but it oversimplifies the complexities of the modern music industry. While there is value in creating music with social and political meaning, today’s Afrobeats artists face different challenges than Fela Kuti did, including global commercialisation and the pressure to appeal to diverse audiences. Activism is not without risks, and the burden of being socially responsible should not fall solely on the artists. 

As Nina Simone once said, “An artist’s duty is to reflect the times,” but this should be seen as a choice—not a mandate. Each artist must have the freedom to decide how they use their platform, and while some have chosen to embrace activism, others may not. Ultimately, it’s important to recognise that the responsibility for change should not rest solely on the shoulders of artists but also on the systems that shape their work.