As successful as the hosting of the 9th All Africa Music Awards (AFRIMA) was in Lagos, its deep significance as a potential driver of entertainment and economic development deserves concerted efforts to make these a reality. Beyond this, the last AFRIMA served as both a reminder of how far African music has come and a warning of how much work still lies ahead to harness it properly.

Ii is no news that African music has travelled farther than anyone could have imagined a decade ago. From packed neighbourhood clubs in Lagos, Accra and all the nooks and crannies of the continent to sold-out arenas across Europe and North America, African artistes can safely claim music as one of the continent’s most successful cultural exports.

Today, stars are gracing elevated platforms, headline global festivals, dominating international charts and collaborating effortlessly with the world’s biggest pop names. One of such platforms is the All Africa Music Awards (AFRIMA), the ninth edition of which Lagos hosted recently. It was considered the biggest in the continent, featuring delegates from at least 48 countries, including 1,216 artistes. Tagged, Unstoppable Africa, the Lagos ninth edition held from January 7 to 11, 2026, reflecting the creativity, resilience and steady growth that have sustained AFRIMA for more than a decade. It is a reminder that Africa’s music industry has never lacked talent, energy or global relevance. What it has often lacked are strong continental platforms that can outlive their moment.

Founded in 2013 with its first event held the following year, AFRIMA awards were designed to celebrate musical excellence across Sub-Saharan Africa and the diaspora. With the African Union as partners, AFRIMA encourages cooperation between artistes, policymakers and investors.

From inception, it aimed to be a cultural statement, not just trophies and speeches. And over the years, it has become a rallying point for the annexation of the bulging youth talents in the continent. It is a major platform to create jobs, promote tourism, celebrate African talents, and tell the continent’s positive stories authentically through music to the world.

It has held seven times in Nigeria and once each in Ghana and Senegal. Build-up events have held in 24 mostly countries. “AFRIMA 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.

All regions of Africa were represented among the winners, including artistes from South Africa, Côte d’Ivoire, Algeria and Ethiopia
AFRIMA, as part of its objectives to reshaping Africa’s creative sector is set to train 1.2 million young Africans in five years through
its AFRIMA Kreative Academy. The initiative themed “Learn and Prosper,” targets young Africans aged 18 to 35, with a special focus on underserved and vulnerable communities across the continent.

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.

By addressing the urgent need for structured training and access to opportunities in Africa’s creative industry, AFRIMA’s initiative is poised to make a significant impact on the continent’s youth and the music sector as a whole.

The awards ceremony, 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.

Also celebrated were talents 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.

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.
Though the 9th AFRIMA was not a failure, it was far from flawless. 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.

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.
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.