August 13, 2024 – Jamaican reggae legend Buju Banton has voiced his deep frustration with Afrobeats artists, accusing them of borrowing from reggae and dancehall without proper recognition or respect.*
In a recent interview on the Drink Champs podcast with hosts N.O.R.E. and DJ EFN, Buju Banton, born Mark Myrie, criticized the Afrobeats genre for its apparent disregard for its Jamaican roots. Banton, a Grammy Award-winning artist known for his profound influence on reggae music, expressed disappointment that Afrobeats artists have not acknowledged the significant impact Jamaican music has had on their sound.
“My disappointment was that they [Afrobeats artists] didn’t try to connect with Jamaica—the roots,” Banton said. “They tried connecting with everyone else except us. When you look at what they’re doing, their music is not free in Africa. It’s ‘fockery’—absolute nonsense.”
Afrobeats, a genre that blends African rhythms with Western influences like hip-hop and dancehall, has gained international acclaim with Nigerian stars such as Burna Boy, Wizkid, and Rema leading the way. However, Banton argues that Afrobeats’ rise owes much to the influence of Jamaican music, despite claims of its distinctiveness from reggae.
“Everyone wants to take from reggae; you want to ostracize us and underpay us. Afrobeats did not stem from Africa but from Jamaican influence,” he said. “We don’t dichotomize; we don’t separate ourselves from Africa. No time, no day. This is because the drum in our music is what speaks to our soul.”
Banton also expressed concern that Afrobeats artists have failed to give credit to reggae and dancehall, which he views as integral to their genre’s development. He emphasized that reggae has been a powerful vehicle for social and political commentary, from fighting apartheid to promoting pan-Africanism.
“Do they [Afrobeats artists] give props back to reggae, to dancehall? I don’t think they do,” Banton remarked. “They don’t give props back to dancehall and reggae.”
The artist, who gained prominence in the early 1990s, reflected on his experiences educating African audiences about reggae during a visit in 1991. Despite his efforts to foster a connection between African and Jamaican music, Banton is disappointed that the expected recognition and connection have not materialized.
“But my disappointment was that they [Afrobeats artists] didn’t try to connect with Jamaica, The Roots,” Banton said. “They tried connecting with everyone else except us. But when you look at what they’re doing, their music is not free in Africa.”
Banton criticized the modern music scene for moving away from socially conscious themes that characterized earlier African and Jamaican music. He challenged contemporary musicians, including Afrobeats artists, to use their platforms to inspire and uplift rather than just entertain.
“We’ve looked in sub-Saharan Africa, and we see Africa rising. The brain of Africa has awakened,” Banton stated. “Our music cannot continue to be uninspiring. It’s easy to have anyone listen to you, but what do you say to them? That is the hard part.”
The singer urged Afrobeats artists to consider the long-term impact of their music and to contribute to the liberation and empowerment of African people, much like reggae has done. Banton stressed the importance of maintaining a meaningful and impactful legacy in music.
“Reggae music still stands predominant. It is still the king’s music,” Banton concluded, defending the genre’s lasting influence and its role in connecting with African heritage.
Buju Banton’s comments highlight ongoing tensions between different music genres and their cultural influences, reflecting broader debates about recognition and respect in the global music industry.
