"Afrobeats Is Dead or in a Coma" – Music Promoter Paulo Okoye Raises Alarm Over Industry Crisis

"Afrobeats Is Dead or in a Coma" – Music Promoter Paulo Okoye Raises Alarm Over Industry Crisis

In a detailed Instagram post that has since gone viral, the founder of Upfront and Personal Global Management and organiser of One Africa Music Fest stressed that his comments were not an attack on the genre but a genuine concern about its future.

According to him, "For over 10 years, Afrobeats has been one of Africa's biggest exports. It has opened doors, created global stars, boosted tourism, and taken our music to the biggest stages in the world".

However, he questioned whether the industry is now creating problems for itself, pointing to a stark imbalance in how the genre's success is distributed.

Okoye noted that while Nigeria now has almost 10,000 artists making Afrobeats music, only a handful, about ten are truly making money from streaming, shows, and music sales. He argued that performance fees have risen so high that many promoters can no longer afford to book artists, and even major corporate brands are beginning to struggle with sponsorship costs.

"If promoters can't afford to put on shows, and brands can't afford to sponsor events, then where will the next generation of artists perform?" he asked. "How do we keep building new fans? How do we continue to push our culture across the world?".

The entertainment executive also pointed to a noticeable decline in major concerts this year, noting that live performances remain the heartbeat of the industry. "Over the last 10 years, Afrobeats tourism brought thousands of people from around the world to festivals and concerts. But look at this summer.

We are already in August. How many major Afrobeats shows have you really seen? E no be like before," he wrote . His comments echo concerns he first raised in October 2024, when he warned that fewer than five Afrobeats artists were making real money and that the genre was "going through a lot lately".

Okoye insisted that the problem is bigger than any single artist, promoter, or brand. "This is not about blaming artists, managers, promoters, or brands. Everybody is trying to survive. But the truth be say, the current system is becoming harder to sustain," he stated. He called for urgent collaboration across the industry, urging stakeholders to adopt a more sustainable model that includes more shows, fairer pricing, and broader opportunities for artists beyond a select few.

"If we truly want Afrobeats to remain the biggest genre in the world, then everybody in the industry has to come together," he concluded.

Reactions to Okoye's comments have been mixed, with some social media users agreeing with his assessment and others defending the genre. One commenter wrote, "He made some good points but saying 'Afrobeats is dead' is totally incorrect," while another argued, "Afrobeats is not dead.

They should book the younger ones doing Afrobeats. Younger ones are better and affordable. Go for them!".

Regardless of where one stands, Okoye's warning has reignited an important conversation about the economic sustainability of Afrobeats and whether the industry's current trajectory is built to last for the next generation of artists.