Nine French composers specializing in rap, pop, and urban music recently convened in Lagos with prominent Nigerian Afrobeats artists at Mavin Records to co-write an estimated 60 tracks. The intensive songwriting camp sought to fuse French musical sensibilities with the dominant West African genre for international market penetration. This effort marks a tangible push to replicate the global success of tracks like Rema’s "Calm Down."
The collaboration was organized by Sacem, the French artists' rights group, in partnership with the French embassy and Mavin Records, the label behind stars such as Ayra Starr and Rema. Akotchaye Okio, Sacem’s director of international artists' rights, stated that success would be measured by achieving hits on the scale of Mavin’s recent chart-toppers. Sacem has previously organized similar musical exchange camps in locations including South Korea and the United States.
French and Nigerian participants worked in mixed groups, blending French, English, Nigerian Pidgin, and Creole across the compositions. French producer PSK, who had never visited Africa, noted the difference in creative exploration compared to the French scene, observing that Nigerian counterparts pushed musical ideas further. Mavin Records artists will subsequently select preferred tracks for final recording and production.
This strategic alignment addresses the soaring international appetite for Afrobeats, a genre tracing its roots to Fela Kuti and now significantly amplified by the diaspora. Kizito Ahams, a senior licensing manager at Mavin Records, confirmed the collaborations meet existing international demand, particularly noting strong traction within the French market. Recent high-profile joint releases between French and Nigerian artists corroborate this trend.
For producers like French beatmaker Nassim Diane (Voluptyk), the vibrancy of the Nigerian music industry is evident in its ubiquity within daily life, from public transport to hospitality venues in Lagos. This cultural immersion suggests a deep-seated foundation supporting the genre’s global ascent beyond mere viral trends. The goal is to formalize pathways for these sounds into Western mainstream charts.
Nigerian producer Dunnie Alexandra Lawal emphasized that while Afrobeats originated in West Africa, its future trajectory is inherently international. The camp also facilitated stylistic blending, with artists like Martinique singer Shannon exploring fusions between Afrobeats and Caribbean genres such as Shatta. This cross-pollination aims to discover novel creative avenues for export.
Following the camp, Mavin Records artists are expected to finalize the recordings, positioning the 60 tracks for phased international release throughout the coming year. The success of this Franco-Nigerian music initiative will offer a template for future structured collaborations designed to maximize the commercial viability of African musical exports.
