A heated debate has erupted in Nigeria’s music industry following former Styl Plus member Tunde Akinsanmi’s recent claims about the group’s overlooked contributions to Afrobeats, sparking discussions about musical heritage and genre classification in African music.
During an enlightening conversation on the Afrobeats Podcast with UK-based media personality Adesola ‘Shopsydoo’ Olajide, Akinsanmi expressed his dismay at what he perceives as a systematic omission of Styl Plus from contemporary Afrobeats discourse. The veteran artist particularly highlighted their hit song “Olufunmi” as a prime example of early Afrobeats, challenging the common perception of the track as purely R&B.
It quite shocks me when they talk about Afrobeats and they skip our name,” Akinsanmi stated during the interview, drawing attention to what he believes is a misclassification of their musical style. He specifically differentiated their sound from contemporaries like Plantashun Boiz, whom he acknowledged as primarily R&B artists, while asserting that “Olufunmi” embodied Afrobeats elements in its beat structure and composition.
Beyond genre classification, Akinsanmi highlighted several groundbreaking achievements that he attributes to Styl Plus. According to him, they were pioneers in establishing an independent record label during an era dominated by major labels like Dove Records, Premier, Ebony, Ivory Music, and Kennis Music. He also claimed they introduced the concept of crediting producers within songs, a practice now standard in the industry.
However, these assertions have met with mixed reactions from industry observers and fans alike. Some social media users have challenged Akinsanmi’s claims, particularly regarding producer credits. User @Oyepompin pointed out that “Plantashun boiz used to mention Nelson Brown on their songs before you even dreamt of being in a group,” while also noting that Trybes Men and Trybes Record preceded Styl Plus in independent label operations.
The debate has extended to the fundamental question of genre classification, with many arguing that Styl Plus’s music was quintessentially R&B rather than Afrobeats. @Mrharribest commented, “Olufunmi is totally R and B..Nothing afrobeats about it. Boyz to men could have done that song!” This sentiment was echoed by @tfabmac, who noted, “You people didn’t associate with Afrobeats at all, you were western music wannabes, however the music was enjoyable.
A more nuanced perspective came from @Hdemil, who argued that while Styl Plus made significant contributions to Nigerian music, they were beneficiaries rather than pioneers of the Afrobeats movement: “Afrobeats was already well-established before they came on the scene. By then, DJs, TV channels, and radio stations had already shifted to supporting homegrown sounds over foreign music.”
Despite the controversy, Akinsanmi remained steadfast in highlighting the group’s enduring impact on Nigerian music. “I’m thankful that we did songs that can stand test of time because the truth is a lot of people want us away but the songs will never go away,” he reflected, hinting at the possibility of a future reunion that would “resonate with the hardcore fans out there.”
The discussion has broader implications for how musical heritage is documented and celebrated in Nigerian popular culture. As @sylviateyei advised, “Grab your flowers yourself sir, nobody gives anybody nowadays,” highlighting the ongoing struggle for recognition faced by many pioneer artists in the industry.
This debate emerges at a crucial time when Afrobeats is gaining unprecedented global recognition, making the question of its origins and evolution increasingly significant. The controversy surrounding Styl Plus’s role in this evolution underscores the complexity of musical categorization and the importance of properly documenting Nigeria’s rich musical history.
As the discourse continues, it raises important questions about the nature of Afrobeats itself – whether it should be viewed as a rigid genre with specific characteristics or as an evolving fusion of various musical elements that has shaped Nigerian popular music over the decades. Some observers suggest that perhaps the truth lies somewhere in between, with groups like Styl Plus contributing to the genre’s evolution through their unique blend of R&B and African elements.
The ongoing discussion serves as a reminder of the need for a more comprehensive and nuanced understanding of Nigerian music history, one that acknowledges the contributions of various artists and groups while accurately representing their roles in the development of contemporary African music. As Afrobeats continues to gain global prominence, these conversations become increasingly crucial in ensuring that its rich history is properly documented and celebrated.
