Nigerian Artistes Lack Versatility, Confined to Afrobeats — Solidstar

Nigerian musician Joshua Iniyezo, popularly known as Solidstar, has criticized local music practitioners for an alleged lack of versatility, arguing that the industry has become overly dependent on the Afrobeats genre.

In a statement shared via his social media handle, the ‘One In A Million’ singer contended that many contemporary Nigerian musicians restrict their creative talent to a single genre, which he claims limits the broader growth of the nation’s musical landscape. He urged stakeholders to look past current trends and prioritize the production of high-quality music.

Reflecting on his career launch between 2009 and 2010, Solidstar noted that the contemporary Afrobeats tag was not the dominant musical force at the time, pointing out that genres like Fuji music held a more significant share of the local market.

“Nigerian musicians aren’t versatile. Stuck on one genre (Afrobeats). Nothing like Afrobeats when I came out fully in 2009/2010, Fuji was even huge,” the singer wrote, urging professionals to focus on lasting musical value.

The “Afrobeats” label has been the subject of several intense debates within the industry over the years. In March, singer Ckay criticized the term, describing it as a “convenient” but “overgeneralized” label for the diverse sounds emerging from Africa. Similarly, in September 2025, Afrobeat musician Seun Kuti argued that the contemporary term “Afrobeats” does not constitute a genuine music genre.

Despite the internal criticisms, Afrobeats has remained one of Africa’s biggest cultural exports for years. In 2023, the genre enjoyed massive global recognition, with top Nigerian artistes like Wizkid, Davido, and Burna Boy performing on some of the biggest stages worldwide. Music historians generally trace contemporary Afrobeats which is distinct from Fela Kuti’s politically charged Afrobeat, to the early 2000s in Ghana and Nigeria, where creators blended West African rhythms with highlife, hip-hop, and dancehall.