ID Cabasa Slams Akon's Afrobeats "Discovery" Claim: Says It's Like Mungo Park Discovering River Niger

 

In a powerful and thought-provoking appearance on Channels Television’s Rubbin’ Minds, veteran Nigerian music producer Olumide Ogunlade, better known as ID Cabasa, has taken a firm stance against recent comments made by Senegalese-American singer and music executive Akon, who claimed he played a foundational role in the creation of Afrobeats.

According to Cabasa, Akon's assertions are not only misleading but dangerously close to historical revisionism — likening them to colonial-era tales like Mungo Park "discovering" the River Niger.

“What Akon said, I think, was sort of a half-truth. It’s like Mungo Park saying he discovered the River Niger and Benue, but he met people there fishing,” Cabasa declared. “There was already a sound that attracted him (Akon), and you’re claiming you discovered it? That’s how it sounded. Even the people he mentioned, these guys were already popping, already doing stuff.”

Akon’s Claims: A Controversial Take on Afrobeats History

The controversy stems from interviews Akon gave in May 2025, including appearances on the Sherri Shepherd Show and the BagFuel Brigade Podcast. During these interviews, Akon claimed he was instrumental in building the Afrobeats genre into a global phenomenon. He referenced his early collaborations with major Nigerian artists like Wizkid and Banky W in the late 2000s and early 2010s, stating that he introduced vital business structures to the music scene in Nigeria.

Akon’s comments stirred a heated debate, especially among fans and key players in the Nigerian music industry. To many, the idea that an outsider "created" or "nurtured" Afrobeats undermines the work of countless Nigerian artists, producers, and cultural pioneers who shaped the genre from the ground up — long before Akon became involved.

ID Cabasa: Afrobeats Was Already Thriving Before Akon

In his response, ID Cabasa — who has worked with iconic Nigerian acts like 9ice, Olamide, and Styl-Plus — clarified that while Akon did contribute to Afrobeats’ global recognition, he did not "create" it. He emphasized that the sound, culture, and foundational elements of Afrobeats had already been thriving in Nigeria and West Africa.

“Akon did not offend me, I had to respond to that. By the way, shout out to Akon. He is a guy that everybody should respect, but we need to be careful. If there’s anything we can keep as a legacy for Nigeria and Africa, it’s part of the conversation around Afrobeats,” Cabasa stated.

“He (Akon) actually played his own part in terms of marketing and everything he did for some of these guys back then, which was also instrumental in helping Afrobeats expand,” he added. “But some of the things he said were too heavy, saying he came and nurtured people… No. There was already a sound, there was something that attracted you. You met it here and did your part. It’s the same way I can’t stand and tell people I created Afrobeats.”

Cabasa’s remarks highlight a critical point in the ongoing Afrobeats origin debate — the need to recognize and protect authentic African narratives, especially at a time when global interest in African music is at an all-time high.

Afrobeats and the Risk of Losing Its African Identity

While the global success of Afrobeats is a major milestone for Nigerian music, ID Cabasa also expressed concerns about Western influence diluting the genre's original sound and cultural essence.

“There’s a good part to the diaspora effect. Many young Nigerian producers are learning new sounds and improving the quality of production. But I’m worried about the identity we’re losing,” he warned. “The West is now sounding more like Afrobeats, while we’re sounding more like R&B. That’s the real concern. It’s scary. I almost think we’ve already lost part of it.”

Cabasa's critique sheds light on a growing trend where African artists adapt their music to fit international tastes, often at the expense of their cultural roots. According to him, many Afrobeats artists now live abroad, earning foreign currencies and operating in music industries far removed from Nigeria’s cultural heartbeat.

“That’s why I keep doing what I’m doing, reimagining classics, to remind this new generation of artistes not to lose themselves. Don’t abandon who you are just to fit in,” he advised.

Reimagining Classics: A New Movement in Afrobeats

As part of his effort to preserve the true essence of Afrobeats, ID Cabasa has become a vocal advocate for reinterpreting Nigerian music classics. This artistic choice is part of a broader cultural movement aimed at reviving Nigeria's rich musical heritage for younger generations.

Cabasa has already reimagined iconic Nigerian songs like Styl-Plus’s “Olufunmi” and 9ice’s “Photocopy.” He’s not alone. Other popular artists are also joining the trend:

• Tems sampled Seyi Sodimu’s 1999 hit Love Me Jeje

• Rema reinterpreted Sade’s Is It a Crime

• Burna Boy drew from Soul II Soul’s Back to Life

• Joeboy recently paid tribute to Michael Jackson’s Thriller

These reworks do more than entertain — they preserve history, inspire cultural pride, and educate young listeners on the roots of Afrobeats.

“It all started from a conversation with Olamide. We were talking about how people abroad are trying to hijack the Afrobeats narrative, saying they named it, shaped it,” Cabasa explained. “That’s when Olamide said, ‘Maybe we should bring back the sounds that shaped this thing.’ That idea resonated with me, and I created an entire body of work around it.”

Sampling as Cultural Preservation

Cabasa strongly believes that sampling older Nigerian music is not just a creative tool — it's a method of cultural storytelling.

“Tems winning with Love Me Jeje (originally by Seyi Sodimu in 1999), that’s cultural. It’s storytelling. Sampling brings familiarity and emotional connection. Instead of sampling foreign music, why not revive our rich catalogue?” he said.

This powerful argument ties back to the central theme of his message: Afrobeats must not forget its roots. As the genre continues to dominate global charts and attract foreign interests, the industry must intentionally protect its African soul.

Final Thoughts: The Future of Afrobeats Lies in Our Hands

As Nigeria continues to lead the global music scene through the rise of Afrobeats, Cabasa’s comments serve as a wake-up call. His critique is not just about Akon — it’s about a larger conversation regarding ownership, legacy, cultural pride, and historical accuracy.

“The industry is getting complicated, and many are not paying attention. Sampling is cultural preservation, and that’s why I’m doing what I’m doing, to ensure we don’t forget where it all started,” he concluded.

For Cabasa, preserving Afrobeats isn’t just about making hit songs. It’s about honoring the legends, educating the youth, and ensuring that the true African story is told — not rewritten.