Imitation in Afrobeats: Is It Still the Greatest Form of Flattery?
In Nigerian mainstream pop music, it’s common for artists to align themselves with the latest trends in sound, style, or even ideas, aiming to embed themselves in the minds of consumers.
The 14-time Grammy winner Pharrell Williams aptly stated that there’s nothing new under the sun, and all art forms are variations of countless existing creations. Additionally, artists draw inspiration from the works of those who came before them, whose contributions popularized certain sounds, defined eras, and resonated with generations. Notable artists like 2Baba, Wande Coal, Wizkid, and Rema have significantly influenced the Nigerian music scene across various periods.
In recent years, Amapiano has dominated the Nigerian music scene, with its popularity largely driven by the dynamic creations of hitmaker Asake, whose unique fusion produced an exciting sound that many other artists were eager to emulate.
It’s a common practice for artists to take inspiration from the work of others. After all, nothing is truly original, and imitation is considered the greatest form of flattery.
However, can imitation reach a point where it shifts from being flattering to becoming artistic laziness, ultimately evolving into a concerning trend?
Should there be a boundary for drawing inspiration?
There is a fine line between taking inspiration and outright imitation. While the former is often celebrated in the artistic community, the latter is generally viewed negatively.
The recent situation involving Flavour and KCee highlights how artists can react negatively to what they see as a clear attempt to replicate their work.
Flavour’s concerns arose after KCee previewed a new song featuring Igbo music legend Theresa Onourah just weeks after Larry Gaaga collaborated with her, Flavour, and Phyno on a track. Additionally, KCee faced accusations of taking the Ojapiano niche from Kolaboy, who originally blended the Log drum and Oja flute to create a captivating hybrid.
Likewise, numerous Afropop stars such as Rema, Omah Lay, and even Victony have frequently expressed that many artists are attempting to replicate their style. Typically, one might assume these artists would feel flattered that others view them as worthy icons to emulate. However, in the fiercely competitive Nigerian pop music scene, excessively copying another artist’s style may not be seen as flattering at all.
Culture writer Nonso Iheakire noted that the problems arise from the reliance on a limited group of producers by many artists. He emphasizes that these issues are exacerbated by the tendency to adhere to a rigid pop formula.
“I believe the issue lies in the extent of mindless copying happening today. The reasons for this are the commercial aspects and the limited pool of producers. Artists should move away from constantly rotating producers and creating music that follows a strict pop formula. Imitation isn’t a problem if it’s done creatively.”
Iheakire notes that although many artists share Burna Boy’s vocal texture and cadence, the Grammy winner remains unique due to his dedication to maintaining variety and excitement in his music.
“A lot of artists resemble Burna Boy. Even Burna Boy draws inspiration from various artists across different genres, yet he stands out because he knows how to keep things diverse.”
Music executive Honour Aghedo explains that artists are influenced by similar realities, which is why they often sound alike, a phenomenon that has been significantly intensified by the rise of music streaming.
“Artists have always shared similarities across different musical eras due to their common influences, collaboration with similar producers, and the creation of comparable sounds. The issue appears more pronounced in Afrobeats because of the impact of the streaming era.”
He stated that while imitation is acceptable for artists just starting out, it’s essential for them to eventually discover their own voices.
“When artists begin their careers, the first step is often to imitate someone they admire. However, as they mature, they need to find their unique sound.”
The practice of imitation is a trend that extends beyond the current streaming era of Nigerian music, which is experiencing a commercial peak due to the democratization of music creation and the influx of new artists. Many of these artists understandably gravitate toward popular sounds in pursuit of commercial success.
Is imitation still the greatest form of flattery? This writer certainly believes it is.
Is Nigerian mainstream pop music becoming increasingly monotonous? Many would concur.
Therefore, it’s essential for artists, particularly emerging talents, to develop their own identities while still drawing inspiration from the cadences of those they admire. Striving for originality will not only set them apart but also position them as stars whose artistry will be emulated by future generations.
