Tiwa Savage Rejects ‘Queen of Afrobeats’ Label—Says the Crown Belongs to Many

Tiwa Savage, one of Nigeria’s most prominent female recording artists, has long been referred to in the media and by fans as the “Queen of Afrobeats.” Since her breakthrough with songs like “Kele Kele Love” in 2010, she’s built a career marked by hit tracks, international collaborations, industry awards, and major influence both domestically and beyond.

But in a recent interview with Apple Music’s Ebro, she made clear: she’s not comfortable with that title.

Tiwa acknowledged hearing the “Queen of Afrobeats” label often, but said she “doesn’t like that tag.” She explained that it brings with it certain pressures and expectations, which make it uncomfortable. She further pointed out that there are “a lot of us that are Queens,” highlighting that there are many female artists contributing to Afrobeats who are just as deserving of recognition.

She mentioned that taking up such a title would entail maintaining humility and a very high standard, both in artistry and public behaviour. For her, the tag feels too exclusive.

The “Queen” title suggests a single figurehead, someone who leads, dominates or defines a genre. For artists like Tiwa, Afribeats is a collective effort with many rising stars, especially among women. By rejecting the title, she draws attention to the collective contributions of other female artists. Holding such a title brings heightened scrutiny. Every misstep is magnified, and maintaining public image becomes more demanding. Tiwa’s reluctance indicates she is mindful of the emotional and professional costs.

Her stance encourages recognition for a broader spectrum of talent, not just one person. It opens up conversations about how credit is shared in musical genres, particularly in Afrobeats where many female voices are emerging and thriving.

Despite her rejection of the title, fans and media will likely continue to use “Queen of Afrobeats” when referencing Tiwa Savage, as it’s become a part of popular parlance. Whether that changes depends both on her own insistence and broader shifts in discourse.