Afrobeats is more than a genre; it is a global system shaped by vision, culture, and strategy. GIA x Her Network: 25 Women (In Afrobeats) of 2025 spotlights the women whose work is actively defining how Afrobeats sounds, moves, and is experienced today.
We’ve curated this spotlight editorial around four cultural forces: The Architects, The Disruptors, The Connectors, and The Storytellers. These are the women who represent the producers, executives, creatives, strategists, and cultural voices, and together, they’re building the genre’s infrastructure, protecting its ownership, and expanding its reach with intention, strategy, and undeniable impact.
As Afrobeats continue to evolve, its future will be shaped by those who build sustainably and tell the story truthfully. These 25 women are doing exactly that.
The Architects: Women building Afrobeats from its most intimate place.
The Architects are the women building Afrobeats from its most intimate place: the sound itself. Through songwriting, vocal direction, production, and sonic curation, they determine how the genre feels, how it moves, and how it travels. Their work shapes not only what we hear but how Afrobeats is remembered.
Esther Ekpendu (ESTHERRR) embodies a new wave of vocal architects whose influence stretches beyond lead records. In 2025, she released her two-pack single Let Me In / Hooked, followed by a remix featuring Jaido P, while also lending her voice across major projects, including Blaqbonez’s No Excuses, Young Jonn’s Blue Disco, and Tml Vibez’s A Street Kid Diary. On her approach, Esther says, “Women are already shaping Afrobeats in ways people don’t always see, from vocal arrangements to production choices. The opportunity is to step further into the technical side of engineering, production, live performance, and own the full sound of a project.” Her contributions, often subtle but essential, highlight how vocal layering, songwriting, and studio precision define modern Afrobeats. To her, being an architect goes far beyond making music; it is about shaping language, visuals, storytelling, and cultural presence.
Dope Caesar architects sound from behind the decks. Raised in a home where music was constant, her journey into DJing has evolved into a distinct sonic identity, one that fluidly blends Afrobeats and Amapiano while commanding global rooms. After a viral DJ transition in 2023, Caesar has performed alongside Burna Boy, Asake, Rema, Uncle Waffles, Nicki Minaj, and Davido, shutting down stages from The Good Beach to Afro Nation Portugal. She explains, “Every set tells a story, it’s about moving energy, creating a moment where people remember not just the song, but how it made them feel. That’s the power DJs have in shaping Afrobeats culture.” Her work proves that DJs are central to Afrobeats’ evolution, translating records into shared, physical experiences.
Dunnie operates at the genre’s creative core as a singer, songwriter, and producer. With a background that spans vocal performance and technical production, she has contributed to projects by Burna Boy, Yemi Alade, Oxlade, Falz, Busiswa, and Wande Coal. Her fingerprint in 2025 is most visible on EMPIRE’s Where We Come From Vol. 2, a project designed not only as a sonic statement but as a launchpad for the next Afrobeats star. Dunnie notes, “Producers are often the unsung storytellers who shape the vibe, the emotion, the narrative, before the artist even steps into the booth. There’s so much space for women to define the sound of Afrobeats.” To her, being an architect is a privilege: the ability to build worlds from sound and offer others the space to complete them.
GoodGirl LA approaches architecture through intention and emotional clarity. Her 2025 GoodGirl EP and lead single pushed against creative expectations, blending Afro-fusion, R&B, and pop while exploring identity, vulnerability, and self-definition. On her role, she reflects, “Being an architect of Afrobeats isn’t just about making hits, it’s about creating experiences that influence how people think, feel, and exist in the moment. Every choice, every note, every lyric contributes to the world we’re building.” For GoodGirl LA, evolution begins with breaking cultural moulds and allowing art to reflect the moment honestly. She views being an architect of Afrobeats as a responsibility, real-time world-building where music moves the collective forward.
Together, these women are shaping Afrobeats at its source. Their work proves that the genre’s future is not accidental; it is written, produced, and performed by women who understand that sound is both structure and story.
The Disruptors: Women challenging norms, redefining roles
Disruption has always been central to Afrobeats’ rise as a rhythm of rebellion, innovation, and boundary-breaking energy. But today, disruption is no longer chaotic or accidental. It is deliberate, strategic, and visionary. The Disruptors are the women quietly and powerfully reshaping the systems that sustain the genre. They are questioning legacy structures, challenging gatekeeping, and redefining power behind the scenes. Their work ensures that Afrobeats doesn’t just grow louder, but stronger, fairer, and more sustainable.
Abi Babalola is redefining how Afrobeats moves across the globe. With over 15 years in touring and live production, she has orchestrated some of the genre’s most ambitious performances from Burna Boy’s historic London Stadium shows to Asake’s Lungu Boy Tour. “For me, disruption is about raising the bar and proving that African artists deserve the same scale and professionalism as any global act,” she says.
As founder of Hera Touring, a female-led touring and production company, Abi has built a blueprint for scaling Afrobeats shows without compromising artistic integrity. Olamide’s sold-out Wembley Arena concert this year was not just a show it was a demonstration that African talent can command world-class production, audience engagement, and operational precision. “I want people to see African music delivered on a global level and understand that we can execute at world-class standards,” she explains. Abi’s disruption lies in professionalizing touring and building infrastructure that allows Afrobeats to thrive internationally.
Foza operates at the crossroads of law, business, and culture. Through Zaeda Oracle, she is quietly rewiring Afrobeats’ engine room, structuring deals, protecting catalogues, and ensuring African creatives retain ownership of their work. “My focus is on helping artists and creatives understand their value and secure their work for the long term,” she says.
In the past year alone, she has supported four top-ten album releases and brokered multiple multi-million-dollar licensing deals. Her disruption is structural: drafting contracts, establishing publishing frameworks, and implementing business models that prioritize wealth retention over fleeting fame. “Power is not just about being on stage; it’s about having the agreements and systems in place that protect your work and your future,” Foza explains. Her influence ensures that Afrobeats’ global rise translates into lasting creative and economic empowerment.
Olamide ‘Lammy’ Ademeso represents a new generation of strategists shaping Afrobeats’ trajectory through narrative, marketing, and audience engagement. With experience spanning PR, marketing, project management, and artist development, she has amplified artists like Oxlade, Asake, Bella Shmurda, and Timaya. “Disruption is about creating new spaces for artists to tell their stories, beyond what’s expected or formulaic,” Lammy says.
As Head of Operations and Marketing at KVLT WRLD and founder of The DIY Collective, she builds platforms where artists can experiment and innovate. Her approach prioritizes long-term relevance over short-term virality, reframing how audiences understand talent. “I aim to shift the focus from chasing trends to building sustainable careers for artists, so their work resonates culturally and globally,” she explains. Lammy’s disruption lies in merging strategy with creativity to shape Afrobeats’ future from behind the scenes.
Nyasha Michelle’s disruption is rooted in narrative. An award-winning journalist and documentary filmmaker, she has worked with platforms like the BBC and directed documentaries including This Is Amapiano. Through her visual podcast, With Nyasha Michelle, she interviews artists, executives, and cultural pioneers to document Afrobeats’ evolution.
“I believe the greatest opportunity for women is on the continent itself, where talent, leadership, and cultural power are rising, and we must ensure that African voices tell their own stories,” Nyasha says. Her work preserves history while shaping how Afrobeats is understood globally. “It’s about asserting African autonomy over our narratives, making sure the world understands the depth and richness of our music and culture,” she explains. Nyasha’s disruption lies in safeguarding cultural integrity while amplifying African voices on a global stage.
Stephanie Adamu, popularly known as Stefi, operates at the intersection of music, strategy, and culture. With experience at Universal Music Nigeria, EMPIRE UK, and as founder of Kobra Culture and Girls in Afrobeats, she builds systems that allow talent and ideas to thrive. “Disruption, for me, is about building systems that were never designed with women in mind and then intentionally redesigning them to support the full realities of our lives. That includes mothers, women navigating female health issues, caregivers, and women whose paths don’t fit traditional industry timelines,” she says.
Stephanie Adamu is focused on building systems that actually work for women in Afrobeats. Her work on Tiwa Savage’s album release this year shows how she combines planning, clear strategy, and cultural insight to make everything run smoothly with results. Beyond the logistics, she focused on connecting Tiwa authentically with her fans, ensuring the campaign resonated on a personal and cultural level. “I want women to feel empowered to take up space, make decisions, and shape the direction of the industry in ways that honour both their ambition and their humanity,” she explains. Through initiatives like Girls in Afrobeats and high-profile projects like this, Stephanie is helping create an Afrobeats ecosystem that’s stronger, fairer, and built to last.
Wonu Osikoya disrupts by merging culture, technology, and storytelling. As a music and multimedia personality, she has built platforms that redefine how Afrobeats is discussed and experienced. “For me, disruption is about demystifying the industry, making it accessible, and showing that power can be transparent and community-driven,” she says.
Her Osikoya Speaks Live: Afrobeats Court transformed online discourse into a participatory, live experience, proving that fan engagement can itself be disruptive. “I want audiences to see themselves as part of the conversation, not just spectators, because Afrobeats is bigger than the stage, it’s a culture we all shape together,” she explains. Wonu’s disruption is about reimagining storytelling, engagement, and audience participation.
Together, these women show that Afrobeats doesn’t just need hits, it needs vision, infrastructure, strategy, and storytelling. Their disruption is intentional, methodical, and designed for longevity. By challenging norms, questioning structures, and redefining roles, they are future-proofing the genre from the inside out, ensuring that Afrobeats thrives on its own terms, for generations to come.
The Connectors: Women Steering Afrobeats Behind the Scenes
Afrobeats’ global rise is powered not just by its artists, but by the women orchestrating the machinery behind the music. Managers, A&Rs, label executives, and strategists are shaping the systems, strategies, and opportunities that allow artists to grow sustainably while preserving the genre’s cultural authenticity. In 2025, their fingerprints are all over some of the most important projects, tours, and festivals defining the global sound of Afrobeats today.
As the first female Executive Vice President of Music at Chocolate City and the only woman on its board, Ibukun ‘Aibee’ Abidoye works at the intersection of creative development and commercial strategy. “I work at the intersection of creative development and commercial strategy… essentially, you can say that I work on translating artistic vision into business outcomes and work with my co-leads to ensure our business systems operations and budgets can support that scale,” she explains. In 2025, she played a key role in Blaqbonez’s No Excuses album, shaping the project’s export strategy, securing the Valiant feature on “Bizzy Body,” and deepening Blaqbonez’s presence in the UK and France. Beyond music, Aibee has been advancing artist rights, particularly advocating for improvements in Nigeria’s collection management processes. Through The Nahla Initiative, she continues to provide skills, access, and empowerment to young women, aiming to impact 500,000 in the next five years. Reflecting on women’s influence in Afrobeats, she notes, “Women bring an essence to long-term thinking and planning, and in an ecosystem that moves on vibes, we need more strategic thinking and mentorship to ensure the next generation is equipped.”
Manager of Afrobeats star Asake and founder of Double Eleven, Alexa Rae Perkins, has spent over a decade in the music industry across global labels before creating her own agency. “I see myself as a quiet but steady force… supporting artists in ways that allow their voices to shine. Whether it’s through creative marketing, brand alignment, or simply being a sounding board, I try to be one of those behind-the-scenes people pushing for innovation and integrity,” she says. In 2025, she helped Asake balance his street-rooted sound with global polish, while elevating his international profile through creative campaigns, brand collaborations, and global partnerships. Alexa sees major opportunities for women in artist management, label leadership, A&R scouting, and production, emphasizing that their perspective can bring “better representation and more nuanced storytelling” to Afrobeats as it continues its global ascent.
Elizabeth Sobowale focuses on translating African cultural truth into globally resonant strategy. “I work at the intersection of strategy, storytelling, and positioning… My role is about shaping the long game, helping artists translate their cultural truth into systems, visuals, partnerships, and moments that can travel globally without losing their soul,” she says. In 2025, her fingerprints were visible on Adekunle Gold’s Fuji album, a project that combined Nigerian heritage with live instrumentation and international musicianship, reshaping perceptions of how African music can sound, look, and be experienced. She identifies the greatest opportunities for women in Afrobeats as “ownership, strategy, and infrastructure… building sustainable systems, and creating artist-first business models,” emphasizing that women’s presence behind the scenes is critical to scaling the industry with integrity.
Gracy Mae serves as a cultural ambassador and connector for Afrobeats globally. In 2025, she led PR campaigns for Olamide ahead of his sold-out OVO Wembley Arena performance, curated viral playlists on Apple Music and Spotify, and supported artists across four continents through her agency MAE. She also launched her Mae Masterclass and Mae Mentorship programs, engaging hundreds of participants in A&R, law, talent management, PR, and marketing. Gracy describes her role as “amplification and advocacy… Some call it ‘Cultural Leadership’ or ‘Thought Innovation,’ I prefer to think of it as advocacy.” Her work demonstrates how women can influence the global perception of Afrobeats, connect artists to new audiences, and create community-driven industry growth.
Khadijat El-Alawa bridges African artists with global opportunities through curation, talent strategy, and festivals. “I play a bridging role for artists and the wider ecosystem, identifying and unlocking opportunities across live performances, collaborations, networking, and press… Sustainable growth requires a horizontal development of the industry, not an artist-only focus,” she explains. This year, she successfully took AfroFuture Festival to the United States for the first time, showcasing African-led lineups to over 20,000 attendees, and curated a major concert during CANEX in Algeria, uniting artists from West, East, Central, and Southern Africa. Her work ensures Afrobeats is positioned within global creative economy conversations while nurturing emerging talent. She sees women’s potential in strategy, policy, and structural development, noting that their collective mindset can expand small opportunities into long-term, systemic growth.
Rima Tahini has been shaping artists like Rema and Ayra Starr from the earliest stages of their careers. “I’ve been very involved in shaping the look, the creativity, the output, the vision, the visuals… I work on people. That’s what I do. I develop people,” she says. This year, her projects included Ayra Starr’s Hotbody, Rema & Ayra collaborations, Johnny Drill, and launching brand-new artists, in addition to overseeing complex cross-continental music video shoots. Beyond creative direction, Rima also contributed to landmark investment deals that helped establish Mavin as a globally relevant label. She sees women thriving in leadership, infrastructure, and global expansion roles, bringing structure, project management, and negotiation skills to scale Afrobeats sustainably.
Oluwaseun Fasehun operates where strategy, operations, and artist care intersect. “I see myself as a bridge between creativity and execution… I manage the moving parts, align the right teams, and make sure the vision is delivered at the highest level,” she explains. Her work in 2025 included overseeing Fireboy’s Royal Albert Hall concert in London, ensuring every detail from show flow to audience experience aligned with the artist’s vision. Oluwaseun identifies opportunities for women in talent management and live production, where operational excellence is critical for building sustainable artist careers and delivering world-class shows.
Stephney Bassey works behind the scenes to translate Afrobeats for global audiences. “I help artists and teams build campaigns that respect the culture while making sense to global audiences,” she says. Her work with Davido Music Worldwide this year demonstrates her ability to oversee campaigns across Africa and diaspora markets, ensuring consistent visibility and cultural relevance. She emphasizes that women have opportunities in leadership, strategy, marketing, music production, and content creation, particularly in roles where systems and structures are built to sustain the genre globally.
Temi Adegeye blends creative direction, live production, and operational strategy. “I translate an artist’s idea and world-building into shows, rollouts, and tour systems that can function at scale… That behind-the-scenes structure is a big part of how Afrobeats travels, grows, and is remembered,” she says. Her 2025 work included Rema’s live shows and touring across multiple markets, building cinematic experiences rooted in the artist’s essence. Temi identifies opportunities for women in touring, talent and business management, label operations, and strategic planning, emphasizing the need for women to lead decision-making, manage catalogs, and secure equitable deal terms.
Titilope Adesanya, known as Titi, leads operational excellence for EMPIRE Africa. “Structure. Process. Humanization. I think those guide me and are a reflection of how I like to operate in the space,” she says. In 2025, she oversaw projects such as BNXN’s Captain and Black Sheriff’s Iron Boy, ensuring their operational, marketing, and distribution frameworks were flawless. She believes women’s attention to detail and finesse make them especially suited to leadership roles in operations, management, and systems development across marketing, finance, production, and live events.
Vannessa Amadi-Ogbonna is widely recognized as one of the top managers and influential voices in Afrobeats today, shaping the careers of some of the genre’s most iconic artists, including Tiwa Savage. “Behind the scenes, my role has been about shaping narratives, creating platforms, and building opportunities that allow artists and executives to operate sustainably,” she explains. In 2025, her work with Tiwa Savage marked a landmark year. Vannessa guided high-profile campaigns, orchestrated international brand partnerships, and ensured that every release, performance, and media appearance amplified Tiwa’s artistic vision and global reach.
Her approach blends cultural authenticity with strategic foresight. “I’m focused on long-term growth—making sure the genre isn’t just trending, but properly positioned within the global music ecosystem,” she says. Vannessa’s expertise extends beyond individual artists; she has become a key architect of the Afrobeats ecosystem itself, mentoring emerging managers, creating systems for talent sustainability, and shaping industry standards. She identifies leadership, strategic planning, and infrastructure as areas where women can have the most lasting impact: “When women are trusted with these roles, it becomes easier to build sustainable careers, protect artists, and deliver world-class shows.”
From global campaigns to career-defining tours and releases, Vannessa ensures that Afrobeats talent operates on a scale and sophistication comparable to any major music market worldwide. Her fingerprint on 2025 extends across strategy, operations, and artist advocacy, proving that women at the helm are crucial to both the cultural and commercial future of Afrobeats.
Together, these women are the connective tissue of Afrobeats. While the artists provide the sound, these executives, managers, and strategists are shaping the systems, strategy, and infrastructure that allow the music to travel, resonate, and endure globally. The 2025 projects above reflect not just the talent of the artists but the vision, meticulous work, and leadership of women steering Afrobeats from behind the scenes.
The Storytellers: Filmmakers, Curators, OAPs Driving the Culture Forward
Cindy Ihua-Maduenyi, popularly known as Director C, has carved a unique space at the intersection of law, music, and filmmaking. With over 20 music videos directed and produced under her belt, her work has been celebrated for masterful storytelling, striking art direction, and meticulous attention to detail from lighting to set design. This year, her direction of Bella Shmurda’s live performance “Verily,” featured on the Recording Academy’s Global Spin, exemplifies her fingerprint on Afrobeats, blending emotion and artistry to bring the music to life visually. For Cindy, opportunities for women in Afrobeats are limitless. She has witnessed women excelling in management, A&R, publishing, legal, creative direction, fashion, marketing, and tech, proving that the genre thrives on the full immersion and versatility women bring. To her, being an architect of today’s Afrobeats is about authenticity, the power to shape the tempo and rhythm of a cultural movement, and leaving an indelible mark that resonates beyond the screen.
“I think being a Storyteller of today’s Afrobeats means being uniquely you. We have the power to control the tempo and pace of the world, and I see opportunities everywhere women are shaping every part of this culture, from management to creative direction to tech.”
For Dope Caesar, documenting Afrobeats is about reclaiming the narrative. “There’s a misconception that Afrobeats only started in the 2010s because it wasn’t properly documented. False narratives run deep, and the genre hasn’t always gotten the appreciation it deserves. If you don’t tell your story, someone else will—and you lose control over how it’s framed. Documenting it sonically preserves history and ensures posterity sees the truth.“
As a DJ, Dope Caesar sees herself as a bridge between the music and its audience. “I capture how people experience Afrobeats—the parties, the moods, the fashion, the celebration. Traveling the world shows me how this sound connects cultures and creates moments, and that’s my role in telling its story globally.”
Praise Onyeagwalam, better known as Director Pink, has emerged as one of the foremost custodians of Afrobeats’ visual identity. Rising to prominence with music videos like Chike ft Simi’s “Running To You” and “Abracadabra,” she approaches her craft as both translator and guardian of culture. Her work transcends aesthetics, conveying feeling and identity while preserving the nuances of African life. Documenting Afrobeats in this historic moment is a responsibility she embraces with care, ensuring that the genre’s joy, struggles, and pride are captured before the narrative is diluted or rewritten. For Director Pink, every visual she creates from concept to execution is intentional and designed to endure, reflecting her belief in storytelling that is timeless rather than trend-driven.
“I see my role as a translator and a custodian. Documenting this moment in Afrobeats means preserving our truth as Africans, our aesthetics, our joy, and our struggles before the narrative gets diluted or rewritten.”
Kemi Owatemi, widely known as Kemi Smallzz, has spent more than a decade weaving her voice into the fabric of Afrobeats through radio, live events, and creative direction. Beginning her journey at just 14 as a presenter on platforms like Tales Africa and Generation Next, she now co-hosts and curates Basement Gig, a live music platform that spotlights emerging artistes in intimate, culture-forward settings. Through her role as the voice of Inside Radio and her involvement in A&R, Kemi captures Afrobeats as it happens, translating the raw energy, experimentation, and growth of the genre into narratives that listeners can feel and understand. She views radio and live platforms as bridges and spaces to contextualize songs, share stories, and celebrate the people behind the music. By intentionally documenting these moments, she ensures that Afrobeats is preserved with the respect, accuracy, and heart it deserves.
“My role is to be the bridge between Afrobeats and the world. Through radio, live shows, and intimate spaces, I capture the energy, the stories, and the evolution of the culture so people don’t just hear Afrobeats, they feel it.”
Remi Burgz has become a defining voice for Afrobeats in the UK and beyond, blending radio broadcasting, international hosting, and creative direction into a singular presence. From her early days on community radio to her current role as BBC Radio 1Xtra’s Drivetime host, she has consistently championed the genre, bringing artists like Olamide, Tems, Burna Boy, and Moily to global audiences. Remi sees herself as part of a collective effort to grow Afrobeats, amplifying its reach and ensuring African talent achieves the visibility it deserves. She meticulously tracks the genre’s milestones from D’Banj linking with Kanye West to Rema’s “Calm Down” remix topping charts in India, understanding the power of visual and sonic documentation to define Afrobeats’ global trajectory. Her work with emerging artists, such as Fido on the OLAYEMI project, exemplifies her dedication to storytelling that is not only heard but felt, marking her as both chronicler and catalyst of the culture.
“I am just a vessel. My role in Afrobeats is to help the music reach as many people as possible, to visually and sonically capture key moments that define its global journey, and to celebrate the talent that Africa has always had but that the world is only now fully seeing.”
Together, these storytellers, Director C, Director Pink, Kemi Smallzz, Dope Caeser, and Remi Burgz demonstrate the multifaceted ways women are shaping Afrobeats today. Through film, radio, live events, and creative direction, they preserve the genre’s history, celebrate its present, and craft its future, ensuring that Afrobeats is experienced not just as sound, but as a living, breathing culture.
