The ninth edition of the Africa Music Awards, AFRIMA, once again shows that Africa’s music scene has never been short on talent, energy, or global appeal. What it has often missed, though, are strong continental platforms that endure beyond the hype and avoid the all-too-familiar pattern of early promise followed by quiet decline.
Tagged “Unstoppable Africa”, the series of events held in Lagos from January 7 to 11, 2026, reflected the creativity, resilience, and steady growth that have sustained AFRIMA for more than a decade. Too many promising platforms have risen, shone briefly and disappeared. That reality makes what AFRIMA represents far more important than trophies and red carpets.
“AFRIMA is not just about giving awards. It is about bringing Africa together under one roof to celebrate our stories, culture and future through music,” AFRIMA President and Executive Producer, Mike Dada, said at the awards ceremony held at the Eko Convention Centre. “I am happy that we had delegates from at least 48 countries, including 1,216 artistes, delegates and production team members. Looking at the winners, all regions of Africa are represented, showing the growth of our music industry. Artistes from South Africa, Côte d’Ivoire, Algeria and Ethiopia were among those who led in the major categories.”
Of course, AFRIMA is more than a prizegiving night. It is a week-long convergence of networking, masterclasses, business summit, concert and recognition. The ninth edition, initially scheduled for November 2025, reinforced why the platform remains relevant years after it was conceived to reward African musical creativity while promoting the continent’s cultural heritage.
The week opened with a reception hosted at the British Deputy High Commission residence in Lagos before moving into more serious engagement at the Africa Music Business Summit. Those conversations mattered. The focus was not fame or flash, but ownership, investment, copyright and sustainability. Dada put it plainly: “African music is not only about the songs and vibes but about building the business aspect of the industry.” That statement captures the core of AFRIMA’s purpose. The awards are not just a celebration; they are an attempt to build structure around a fast-growing cultural force.
In her keynote address, Sweden’s Ambassador to Nigeria, Ms Anna Westerholm, described Africa, particularly Nigeria, as home to some of the world’s most exciting talents and urged African countries to deliberately leverage music for economic development. Speaking for the African Union Commission, Ms Angela Martins said music and the creative economy are vital tools for development, job creation and unity, stressing the importance of strong intellectual property frameworks and fair remuneration. On investment, Mr Mark Smithson of the British Deputy High Commission said Africa must look inward for funding, noting that over one trillion dollars in institutional capital exists on the continent and can be mobilised to attract further global partnerships.
The Lagos State Government, represented by the Commissioner for Tourism, Arts and Culture, Mrs Toke Benson-Awoyinka, reaffirmed its commitment to the sector, disclosing that the state invested N8.4 billion in creative industries in 2025.
There was also room for shared enjoyment ahead of the grand finale. The AFRIMA Music Village at Ikeja City Mall reminded everyone why music matters in the first place. Fans and artistes gathered without barriers as performers from across Africa took turns on stage. Hosted by Do2un, it was loud, communal and unmistakably African.
An eclectic crowd was treated to performances by 9ice, Terry Apala, Mr P, Skales, King Lex, Maxee, Shoday, Natureboii, Martinsfeelz, Syemca, Obesere, Femi Kuti, Yemi Alade, Wale Thompson and Adewale Ayuba under a friendly Lagos sky. The lineup also featured Sabrina from Cameroon, Hiro from Côte d’Ivoire and France, and Didi B from Côte d’Ivoire.
On the decks were Nigerian DJs YK Mule, Hatman DJ Nickii, DJ Bubu, DJ Primeau and DJ Coolest, joined by Ghana-Belgium-based DJ Brookebailey. Emerging talents Ella Centric, El Nayan, Dellfire, Black Astro, Blinkz Baba and Mayowa Afolabi, products of the AFRIMA Diamond Showcase project, also took to the stage, underlining the platform’s commitment to nurturing new talent.
The awards night itself, hosted by Falz, Kenya’s Claudia Naisabwa and French Senegalese Liliane Maroune, reflected both excellence and balance. Rema led the night with three major honours: Artiste of the Year, Best Male Artiste in Western Africa, and Best African Artiste in RnB and Soul. Other Nigerian winners included Burna Boy for Album of the Year, Yemi Alade for Best Soundtrack in a Movie, Series or Documentary and rapper Phyno, named Best African Artiste in African Hip Hop. Emerging talents were also recognised, with Qing Madi winning Most Promising Artiste of the Year and Chella named African Fans’ Favourite.
Beyond Nigeria, the ceremony celebrated talent from across the continent. Senegal’s Bakhaw Dioum won Song Writer of the Year, while Algeria’s DJ Moh Green claimed DJ of the Year. Ghana’s Wendy Shay won Best Female Artiste in West Africa, South Africa’s Nontokozo Mkhize emerged Best Female Artiste in Southern Africa, and Tanzania’s Juma Jux was named Best Male Artiste in Eastern Africa. Côte d’Ivoire recorded multiple wins, with Milo and Morijah taking the male and female African Inspirational categories, Didi B emerging Best African Lyricist or Rapper, and Team Paiya winning Best African Duo, Group or Band. Ethiopia featured prominently, with Haddinqo named Best African Jazz, Weeha winning Best African Dance or Choreography, and Veronica Adane taking Best African Traditional. Guinea celebrated Manamba Kanté as Best African Pop and Takana Zion as Best African Reggae, Ragga and Dancehall.
African music has travelled the world long before revisionist labels tried to compress it into Afrobeats or Amapiano. Fela Kuti, King Sunny Ade, Hugh Masekela, Miriam Makeba, Youssou N’Dour, Salif Keita, Zaiko Langa Langa, ET Mensah, Cesária Évora, Papa Wemba, Mbilia Bel and Angélique Kidjo have long stood as global images of the continent. Yet there have been few pan-African awards platforms truly owned by Africa and backed by its institutions.
With the African Union as partners, AFRIMA was conceived to recognise excellence across the continent while encouraging cooperation between artistes, policymakers and investors. After years of planning and stakeholder engagement, the first edition was held in Lagos in 2014. It has been held a total of seven times in Nigeria and once each in Ghana and Senegal. Build-up events have been held in The Gambia, South Africa, Cameroon, the Democratic Republic of Congo, Congo, Zimbabwe, London, Côte d’Ivoire, Benin Republic, Kenya, Uganda, Ethiopia, Morocco, Algeria, Comoros and about nine other African countries.
AFRIMA’s strength lies in its continental spirit, even when hosted by a single country.
The Lagos State Government once again provided financial and institutional support that made hosting an event of this scale possible. Corporate partners such as FirstBank, The Address Homes, Guinness, Utilita, Gobet247, LIRS and others also deserve recognition for standing behind the project and helping turn ideas into action. So do the British High Commission and the Embassy of Sweden as cultural exchange partners.
But appreciation must not end the conversation. AFRIMA has reached a point where goodwill alone is no longer enough. Africa’s cultural history is littered with award ceremonies that started well and faded due to weak funding, limited government backing, inconsistent corporate support and questionable organisational practices. Before AFRIMA, there were the KORA Awards, Channel O Africa Music Video Awards and the MTV Africa Music Awards among others.
Allowing AFRIMA to follow that path would be a serious loss.
Stronger and more deliberate support is needed from governments across the continent, not just from host cities. Corporate Africa must also do more. Many brands benefit from the global reach and cultural influence of African music. Supporting AFRIMA should be seen as a long-term investment in Africa’s creative economy, not a one-off sponsorship.
The social and economic impact of hosting an event like AFRIMA is far-reaching. It challenges the notion that Africa is underdeveloped or unsafe. Thousands of people gathered, both indoors and in open spaces, without fear of molestation or discrimination. If proof is needed, one only has to look at the crowd at Ikeja City Mall, where a large number of funseekers were drawn by a well-coordinated media campaign and the promise of a memorable evening.
Beyond the spectacle, AFRIMA delivers a tangible economic boost to the host city. Hotels, restaurants, transport services and local vendors all benefit from the influx of artistes, delegates, media professionals and fans. Lagos saw its tourism and hospitality sectors energised, with increased bookings, patronage and international visibility. Events of this scale create jobs, generate revenue and reinforce the city’s reputation as a safe and vibrant destination for business and leisure alike.
African music remains one of the continent’s strongest unifying forces. It speaks where politics often divides. AFRIMA represents that shared voice. If Africa truly values its culture, then AFRIMA must be sustained, protected and allowed to grow.
As the biggest pan-African music awards still standing, AFRIMA offers a level of continental integration that foreign platforms such as the Grammy, BET, MOBO and MTV Europe Music Awards make no claim to provide for Africa. That alone is reason enough to ensure it does not become another good idea that failed to survive its moment.
Olumide Iyanda is a veteran entertainment and culture journalist, Publisher of QEDNG and Convener of the QEDNG Creative Powerhouse Summit.
