For an event that is branded as Africa’s biggest music awards platform, the 9th edition of the All Africa Music Awards (AFRIMA 9) came with great expectations.
From the moment Lagos, Africa’s entertainment capital was announced as host, the buzz was unmistakable. It was another homecoming of the prestigious award ceremony and it delivered its strongest outing.
Artistes, delegates, industry players and fans from across the continent poured into Nigeria’s commercial nerve centre, ready for a week-long celebration of African sound, culture and creativity.
As the curtains finally fell, the event left behind mixed feelings — moments of brilliance, flashes of disappointment, and some troubling lapses that raised questions about planning and execution. This is captured in three parts: the good, the bad, and the ugly.
The Brilliance: AMBS, Music Village And Power Of Performances
AFRIMA has never lacked ambition. From inception, it aimed to be a cultural statement, not just trophies and speeches.
If the organisers were searching for brightest moment this year, it would be the Africa Music Business Summit (AMBS) held on Thursday, January 8 at the Eko Hotel and Suites, and the Music Village concert held on Friday, January 9, at the Ikeja City Mall precinct.
Designed to be the thinking hub of the entire week — a space where policy, commerce and creativity could intersect — the AMBS delivered on its promise of conversation. It exposed how far Africa’s music industry has gone from talk to structure.
The strongest point of the summit was its breadth of perspectives. Industry stakeholders from different African regions, alongside policymakers, label executives, artistes, distributors and tech players created a rare multi-layered room.
Conversations around building creative economy infrastructure for digital distribution, revenue royalties, copyright enforcement and cross-border collaboration reflected real concerns facing African creatives today.
Panelists examined the policies, systems and platforms needed to turn musical talent into steady income. One of the panel sessions addressed owning the creative narrative and monetisation strategies, with practical guidance on rights protection, branding and revenue generation.
The ‘Global Media and Music: The Missing Link for Africa’ panel examined the role of media in pushing the African music frontiers, while a special fireside chat on funding the African music ecosystem spotlighted financing the industry. The session featured honest conversations about investment models, access to finance, and how artistes, labels, and creative entrepreneurs can attract funding to scale their businesses.
Panels on intellectual property and revenue transparency resonated deeply, especially with independent artistes who remain vulnerable in an increasingly digital ecosystem. The emphasis on owning masters, understanding contracts and building sustainable careers — not just chasing virality — was timely and relevant.
Another victory at the AMBS was the focus on intra-African collaboration. Speakers acknowledged that while African music enjoys global visibility, continental integration remains weak. Discussions around harmonising copyright laws, improving touring structures and strengthening regional music markets struck a necessary chord. Collaboration was also highlighted as key to unlocking Africa’s music industry’s full potential, while affirmed that investment and digital innovation will help artistes grow sustainably and compete globally.
The Ikeja City precinct Alausa, Lagos’ bustling commercial hub as the choice venue for the Music Village (Concert) was a well thought decision; it proved inspired. The concert emerged as one of this year’s AFRIMA most authentic triumph, as it blurred the line between everyday Lagos life and high-profile entertainment. It captured the raw energy of African music in its natural habitat — loud, communal, and unapologetically alive.
On stage, the artistes from different African regions delivered spirited performances that reflected AFRIMA’s pan-African mandate. They brought diversity in sound, language and energy, reinforcing the organiser’s vision.
From Afrobeats to Amapiano, Francophone pop to East African rhythms, the lineup showcased the continent’s sonic range without leaning too heavily on a single market.
The sound quality at the concert was largely commendable, with minimal interruptions and a steady flow between performances. Highlight of the night was hypeman and energy guard, Do2dtun’s dramatic entrance. The dimmed lights, measured walk and theatrical buildup drew loud reactions from the audience. His takeover of the night compere saw the concert fired up with energy.
Prior to that, Afrobeat legend Femi Kuti’s performance stood out as a reminder of AFRIMA’s deeper purpose. Backed by tight instrumentation and unmistakable presence, he delivered a set rooted in substance rather than spectacle.
His performance cut through the chaos — politically conscious, musically disciplined, and unapologetically African. The music spoke, and the audience listened. For many guests, it was the night’s most complete artistic statement.
For young creatives and upcoming artistes, the Music Village served as a networking ground — organic, energetic and real. In many ways, it reminded attendees of what AFRIMA was originally created to be: a people-centred celebration of African music
The Flaws: Poor Execution, Rhythm Loss
Despite the quality of dialogue, the AMBS struggled with depth and execution. Several sessions were rushed, with the panelists barely scratching the surface of the issues. Time management was inconsistent, limiting audience interaction.
There was also a noticeable gap between conversation and actionable outcomes. While the issues were clearly identified, few panels offered concrete frameworks, timelines or follow-up mechanisms. For a continent grappling with structural challenges, repetition of known issues without clear roadmap risks summit fatigue.
AFRIMA’s AMBS is positioned as a continental think tank, yet it still feels like an adjunct to the awards rather than a standalone institution with measurable impact. Without post-summit communique, policy briefs or industry commitments, valuable insights risk disappearing once the microphones are switched off.
Another concern was representation balance. While star power helped draw attention, some sessions leaned too heavily on familiar voices, leaving less room for emerging professionals, independent operators and grassroots stakeholders who often face the sharpest end of industry dysfunction.
On the other hand, while the Music Village shone, it also highlighted a troubling contrast when placed side by side with the awards ceremony itself. Expectations were understandably high for the main event, the award proper — the climax of the entire week — but what unfolded left many industry watchers underwhelmed.
For an event meant to crown excellence, the ceremony struggled to maintain coherence. Production lapses were so glaring that they were impossible to ignore. Delays disrupted momentum, and transitions between segments felt disjointed or poorly coordinated; hence impeding flow of the ceremony. Presenters occasionally appeared unsure of cues, hinting at backstage communication gaps.
The red carpet, which was meant to set the tone for the night, also underperformed, as Kenyan actress host Claudia Naisabwa, missed talking points, and her lack of fluid engagement with guests made her interviews awkward.
Instead of projecting confidence and glamour, the activity felt shot of the standard of a high octane event — a missed opportunity to build anticipation and narrative before the awards presentation.
Highlight of the red carpet dismal performance by Naisabwa was the inability to properly recognise AFRIMA patron, Bisi Onasanya, a former GMD/CEO of First Bank Nigeria Plc., now Chairman, Address Homes; legendary Nigerian flutist, Tee Mac Omashola Itseli; broadcaster, music producer and entertainment entrepreneur, Dayo Adeneye among others.
The award ceremony itself suffered from uneven production. Delays became frequent, disrupting the emotional flow of the night. At several points, presenters appeared uncertain, possibly due to poor stage coordination or last-minute script changes.
Timing was another sore point. The ceremony dragged longer than necessary, testing the patience of attendees and viewers alike. Some award categories felt rushed, while others were padded with extended performances or unscheduled pauses.
The imbalance created a sense of fatigue that dulled the emotional highs that award nights are meant to deliver. These moments, though subtle, chipped away at the polish expected from an event of AFRIMA’s stature.
Errors Stole The Spotlight
Beyond technical hiccups and organisational missteps, AFRIMA 9 suffered moments that crossed from unfortunate into embarrassing. Incorrect graphics, poorly labeled categories, and visible confusion during winner announcements sparked murmurs across the hall and online.
In an era where award credibility is constantly scrutinised, even minor errors can snowball into damaging narratives. Social media, predictably, amplified these moments within minutes, shifting conversations from celebration to criticism.
Some winners reportedly struggled to get adequate stage time, while others faced awkward pauses that diluted the impact of their recognition. For artistes who may only get one such moment on a continental stage, these glitches felt particularly cruel.
Backstage, reports of poor communication between production teams, presenters and performers further painted a picture of a system stretched beyond its limits. While no large-scale incident marred the event, the accumulation of small failures created an atmosphere of avoidable chaos.
Though the 9th AFRIMA was not a failure, it was far from flawless. The high and low moments, applause and frustration, brilliance and blunders are evident. In the end, it served as both a reminder of how far African music has come and a warning of how much work still lies ahead to honour it properly.
While African music continues to command global attention, its biggest platforms must evolve in execution, not just ambition. Attention to detail, stronger production partnerships, and stricter quality control are no longer optional but essential.
As one of Africa’s most important cultural platforms, AFRIMA’s vision is necessary; its reach undeniable, and its influence still strong. The task ahead is clear: evolve the summit from a discussion forum into a results-driven platform.
