Gender Wealth Gap in the USA’s Afrobeats Scene

Abstract

The United States has been a space for global musical transnational encounters among African-descended peoples, with various artists collaborating. These collaborations have blossomed with the advent of Afrobeats—a loose term describing the contemporary transatlantic sound of popular African music. Although there are male and female Afrobeats performers on the African continent, this cultural exchange occurs more often between male artists and U.S. musicians. Because male artists are mostly invited for live performances, their visibility puts them in a position to perform with and collaborate with U.S. artists. As a result, male artists get nominations for global awards such as the Grammys and accumulate more wealth. For female artists, the result is less visibility and wealth. Using Tiwa Savage and Burna Boy—two Afrobeats giants—as case studies, this essay examines the factors that limit Tiwa, a female performer, from achieving the same wealth as her male counterpart, Burna Boy. Specifically, this study analyzes the sonic and semiotic representations in their popular music videos, Tiwa’s “Koroba” and Burna Boy’s “On the Low,” to understand why Burna Boy might have the edge over Tiwa. Their music and career trajectories shed light on how capitalism and sociopolitical issues, including colorism, might contribute to the gender wealth disparities between male and female Afrobeats performers.