For more than a decade, Afrobeats has been one of Africa’s biggest success stories. The genre has produced global superstars, filled arenas across continents, attracted tourists to music festivals, and introduced millions of people to African music and culture.
But on the wee hours of August 5, talent manager and entertainment executive Paulo Okoye stirred fresh debate with a blunt statement that caught the attention of fans and industry stakeholders alike. He wrote:
“AfroBeat Is Dead 💔 Or Coma 💔💔💔😭😭😭 2026.”
The dramatic declaration was only the beginning. In a lengthy Instagram post, Paulo explained why he believes the industry is facing one of its biggest challenges yet. Rather than blaming artists, promoters or brands, he argued that the current business model is becoming increasingly difficult to sustain and warned that the future of Afrobeats could be at risk if the industry fails to make changes.
Here are the five key points behind Paulo Okoye’s argument.
1. Afrobeats Has Reached Incredible Heights But Its Growth May Be Slowing
Paulo did not dismiss everything Afrobeats has achieved. In fact, he began by celebrating the genre’s remarkable rise over the last decade.
According to him, Afrobeats has become one of Africa’s greatest cultural exports, opening doors that once seemed impossible. The genre has created internationally recognised stars, boosted tourism, taken African music to some of the world’s biggest stages and helped reshape how the world sees African entertainment.
However, after acknowledging those achievements, he posed the question that has since sparked widespread discussion.
“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.
But today, we need to ask ourselves one honest question.
Is Afrobeats slowing down, or are we creating a problem for ourselves?”
Rather than saying the music itself is no longer popular, Paulo suggested that the industry’s current structure may be slowing its momentum.
2. Thousands of Artists Are Making Music, But Only a Few Are Making Real Money
Another major concern Paulo raised was the growing gap between the number of artists entering the industry and those who are actually earning sustainable incomes.
He estimated that there are almost 10,000 artists making music today, yet only a very small number are benefiting financially. As he put it:
“Today, we have almost 10,000 artists making music, but only a handful (max 10) are really making money from streaming, shows, and music sales.”
His point highlights a challenge many industries face as they grow. While more musicians are releasing songs than ever before, commercial success remains concentrated among a few established names.
That, he suggests, leaves thousands of emerging artists competing for limited opportunities.
3. Rising Performance Fees Are Making It Harder to Organise Shows
Perhaps Paulo’s strongest argument focused on artist booking fees.
According to him, performance fees have risen so much that many promoters are no longer able to afford to book artists for concerts and events.
He also believes corporate organisations, which have traditionally sponsored major music events, are beginning to feel the pressure.
“At the same time, artist fees have gone so high that many promoters no fit book them again.
Even big companies and corporate brands are beginning to struggle with these prices.”
He then asked an important question about the future of the industry.
“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? How do we keep building new fans? How do we continue to push our culture across the world?”
His concern is that fewer affordable shows today could eventually limit opportunities for tomorrow’s stars.
4. Live Shows Are the Heartbeat of Afrobeats
For Paulo, concerts are far more than entertainment. He described live performances as the heartbeat of the industry because they give fans the opportunity to experience artists beyond streaming platforms while also helping musicians build loyal audiences.
He wrote:
“Live shows are the heartbeat of this industry. Na there the fans connect with the artists.”
Paulo also pointed to the role concerts have played in turning Afrobeats into a global movement.
According to him, music festivals and concerts have encouraged thousands of fans from different parts of the world to travel to Africa, strengthening the continent’s music tourism.
But he believes that momentum is beginning to fade.
“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.”
Whether others in the industry agree with that assessment or not, his observation raises questions about whether the volume of large-scale Afrobeats events has changed compared to previous years.
5. The Industry Needs a New Business Model That Works for Everyone
Despite his strong opinions, Paulo avoided pointing fingers. Instead, he stressed that everyone involved in the industry is dealing with economic realities and trying to survive. He wrote:
“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.”
Rather than focusing on blame, Paulo called for collaboration.
He believes artists, managers, promoters, brands and other stakeholders need to work together to create a healthier ecosystem that benefits established stars while also creating opportunities for upcoming acts.
His proposal was straightforward.
“If we truly want Afrobeats to remain the biggest genre in the world, then everybody in the industry has to come together.
We need more shows, fairer pricing, more opportunities for artists, and a business model that works for everyone, not just a few people.
Make we reason am together. It’s time to make a change so this industry can sustain itself for many years to come.”
Conclusion
Paulo Okoye’s comments have already sparked conversations among artists, promoters, fans and music executives, with many agreeing on some of his concerns while others argue that Afrobeats is simply evolving rather than declining.
Whether the genre is truly “dead,” “in a coma,” or merely entering a new phase of growth remains open to debate.
What is clear, however, is that Paulo’s message was never just about the music itself. It was about the business behind the music. From how artists are booked, how shows are funded, how new talents are discovered, and to whether the current system can continue to support one of Africa’s biggest cultural exports for years to come.
As Afrobeats continues to enjoy global recognition, Paulo’s argument serves as a reminder that sustaining the genre’s success may require more than hit songs. It may also require difficult conversations about how the industry operates and how every stakeholder can help ensure its next decade is just as successful as the last.
