There is a big difference between thoughtful critique and cultural ignorance.
Music carries identity, history, memory, language, and belonging. Every beat and lyric reflects communities, experiences, and worlds of different cultures. That is why, when someone — particularly a person with influence or a platform — dismisses an entire genre as “unappealing,” the impact extends far beyond opinion. It reflects cultural ignorance.
American rapper & singer Azealia Banks’ recent remarks illustrate this phenomenon clearly. In a podcast discussion, she dismissed Afrobeats entirely, claiming its sound and lyrical approach “does not feel culturally rich to her” and specifically calling out artists like Rema as someone she “cannot listen to.”
Such sweeping judgments rarely exist in a vacuum; they reflect a lack of engagement, an absence of nuance, and the assumption that one’s own cultural reference points define all standards of taste. In these moments, what presents itself as critique often reveals cultural ignorance.
When “I don’t like it” becomes dismissal
At first glance, “I don’t like this genre” can seem like a simple statement of personal taste. Yet when such language devalues not just individual songs but an entire cultural spectrum — encompassing stories, diasporic connections, and heritage — it ceases to be personal preference. It is a refusal to engage with culture, a flattening of rich traditions into a dismissible soundscape, and an exercise in cultural ignorance.
Afrobeats is far more than a collection of beats. It is a living and breathing evolving expression of West African creativity, history, migration, and identity. To dismiss it without nuance flattens its complexity and overlooks the communities for whom the music carries deep meaning.
Afrobeats and other African music genres have frequently been subjected to criticism that misrepresents the richness of the sounds and their cultural significance. Negative coverage often reduces the genre’s diversity and innovation to stereotypes, framing African music as simplistic, repetitive, or unrefined. This misrepresentation is rarely accidental; it is often rooted in longstanding biases and racialised perceptions of African culture. The audiences and communities that engage deeply with these sounds are marginalised, and the genre becomes peripheral within mainstream discourse, rather than being valued on its own terms.
Other examples of dismissals across global pop music
This pattern of dismissive critique repeats far beyond Afrobeats. Consider K-pop and the global phenomenon of BLACKPINK. Critics have often reduced their artistry to “fad,” “manufactured pop,” or “just another trendy foreign band.” Such framing ignores the genre’s cultural foundations, rigorous training systems, linguistic complexity, and the deliberate fusion of global and local elements.
In these moments, what may appear as musical critique is often cultural ignorance in disguise. This alienates the music and renders the audiences who connect with it invisible.
When criticism or commentary moves from “I don’t like this song” to “this genre is unappealing,” or when global sounds are reduced to commercial shortcuts, respect is lost, and cultural ignorance reigns free.
Read also: Queens of the beat: The unstoppable women shaping Afrobeats
When is music criticism valid?
That said, not all music criticism is problematic. Thoughtful critique is essential for growth, discussion, and innovation. What distinguishes valid criticism is specificity, context, and respect. Critiques directed at a particular song, lyrical choice, or production style are far more meaningful than blanket statements about an entire genre.
Understanding the cultural, historical, and social context from which music emerges ensures that evaluation carries perspective. Recognising that genres evolve and that not every song represents the entirety of a style adds nuance and fairness. Critique should be personal — “this doesn’t work for me” — rather than universal — “this genre is trash.” When handled thoughtfully, criticism sparks dialogue, challenges artists to refine their craft, and encourages appreciation of complexity.
Without such care, sweeping judgments reinforce cultural hierarchies: Western music, or familiar styles, are framed as normal and valid, while others are reduced to “lesser,” or “not serious.” This mindset erases nuance and diminishes the diversity that makes global music rich.
How to critique music with integrity
To critique music responsibly requires a combination of curiosity, humility, and respect. Listening deeply to unfamiliar sounds, imagining what it might mean to grow up with these rhythms, and understanding cultural references are essential. Every beat, rhythm, and lyric carries worlds of meaning beyond the casual listener’s comprehension.
When personal taste is involved, it is crucial to distinguish between subjective preference and sweeping judgment. One may find a song or style unappealing personally while still acknowledging its value to others. Honouring diversity, amplifying the underrepresented voices, and seeking to understand the cultural context behind music is key to a critique that enlightens rather than dismisses.
To critique music responsibly is to listen, to learn, and to honour the context and humanity behind every rhythm and lyric. Anything less risks building walls where bridges could stand, closing off worlds of meaning that music seeks to open.
