Afrobeats, ancestry and ambition: The story of Italian-Nigerian singer, Onyeabor

Charles Onyekachi Onyeabor is an Italian-Nigerian singer, songwriter, and entrepreneur. He is the eldest son of the late William Onyeabor, the legendary electro-Afro-funk pioneer. Holding dual Nigerian and Italian citizenship, Charles is a graduate of Enugu State University of Science and Technology. In this interview with KENNETH ATHEKAME, he spoke on the biggest challenges and opportunities facing Nigerian musicians today, especially those seeking to connect with both local and international audiences. His work and talent have earned him features in prominent media outlets, including BBC, GQ South Africa, The New York Times, NotJustOk, Afrocritik, Eurovoix, The Culture Custodian, and All Music Italia, among others. Excerpts:

Your father, William Onyeabor was a pioneer of Afro-funk and a cult icon in global music. How has growing up in his legacy influenced your personal and artistic identity?

Growing up as the son of William Onyeabor is both a blessing and a challenge. His music wasn’t just sound —it was philosophy, social commentary, and innovation far ahead of its time. I carry that legacy in my DNA. It taught me the power of originality and purpose in music. But it also meant I had to find my own voice. I didn’t want to be a shadow; I wanted to be a continuation, a reinvention. That push helped me carve out my identity with today’s Afrobeats, soul, and reggae. I honor his legacy by staying true to my voice while respecting where I come from.

Having lived in Nigeria and Italy, how have these two cultural landscapes shaped your musical direction and worldview?

Nigeria gave me rhythm, spirit, and storytelling. Italy refined my understanding of harmony, performance, and artistic presentation. And being a black man growing up in Europe with spats of racism here and there, both cultures taught me resilience in different ways; in Nigeria, it’s about hustle and survival; in Italy, it’s about passion and elegance. Musically, I became a bridge Afrobeat with European polish, soulful yet rooted. I don’t just represent two cultures, I represent how they can co-exist within one song and if you look through my catalogue, you’ll find me singing in Italian and I’ve done a few songs with some Italian artists as well.

In what ways do you feel your music bridges the gap between the old-school Afro-funk sound of your father and today’s contemporary Nigerian music scene?

I see myself as a translator of generations. My father’s synth-heavy, message-driven music was bold. Today’s Afrobeats are rhythmic, youthful, and global. I merge those elements — the funk grooves and social awareness of my dad’s era, with the bounce and sonic diversity of now. Tracks like “Ifenkili” or “As e dey play, e dey show” show that this bridge isn’t just possible, it’s powerful.

You debuted with “They Can’t Pull Us Down” in 2020 and went on to participate at San Marino. How did these early career movies shape your artistic vision?

“They Can’t Pull Us Down” was more than a song, and I’ll be honest with you, I was scared at the beginning of this music journey, I had anxiety, i had doubts but my manager kept assuring me that it’s possible and I have nothing to fear, so we took the leap of faith. San Marino expanded my worldview — it put me on a stage where I had to communicate across cultures. It confirmed that my music could connect beyond borders and affirmed my belief that originality resonates everywhere.

You’ve performed across major festivals and worked with different acts. How have these collaborations and performances helped you evolve as a Nigerian artist on the global stage?

Each collaboration is a classroom and while you’ll always have to navigate through the complexities and gate keeping in the music industry, especially back home, sharing stages with them sharpened my understanding of performance, audience engagement, and versatility. It also reinforced the global power of Nigerian music, we’re not just creating soundtracks for Nigeria, but for the world.

What does it mean to you to be featured in international outlets like the BBC, The New York Times, and GQ South Africa, and how does this visibility reflect on the Nigerian creative industry at large?

It’s a huge honor, not just for me, but for the culture I represent. Like I said before, when I started music, I had doubts, I was scared of the uncertainties, but over time all the pieces started falling in place and I must tell you it’s been a lot of hard work and consistent consistency. When Nigerian stories are told on global platforms, it validates the richness of our creativity. It also breaks stereotypes, we’re not just entertainers; we are thinkers, innovators, and trendsetters. My visibility is a small part of a bigger wave of renaissance and African excellence that’s sweeping over the whole world.

What do you think are the biggest challenges and opportunities facing Nigerian musicians today, especially those trying to appeal to both local and international audiences?

The major challenge is balance; staying true to your roots while appealing to global tastes is very difficult. But then, the opportunity lies in technology and storytelling. The world is listening to Afrobeats now more than ever. But we must invest in structure, from royalties to touring infrastructure. Personally, I believe global appeal should not dilute our essence; it should amplify it.

How do you perceive the Nigerian creative industry’s infrastructure compared to what you’ve seen in Europe?

Its miles ahead of each other in different ways, Europe is structured, contracts are respected, promotions are strategic, touring is streamlined. Nigeria has immense talent but needs stronger systems and working structures. Though its changing slowly, thanks to new management models and digital distribution. But we need to value the business side of music as much as the art. Artists shouldn’t just blow, they should grow.

How important is it for Nigerian artists in the diaspora to maintain strong ties to home, and how have you managed to do that through your music?

Home is the source. If you lose that connection, you lose your authenticity. I keep my ties through my lyrics, collaborations, and frequent performances in Nigeria. I also speak Igbo in some songs. My sound is global, but my spirit is deeply Nigerian.

Your music blends Afrobeats, soul, reggae, funk, and socially conscious themes. What inspires the fusion of these genres in your work?

Life is not one-dimensional, neither is music. I’m inspired by Bob Marley’s truth, Fela’s fire, Marvin Gaye’s soul, Burna Boy’s boldness and my father’s originality. Each genre I use expresses a different emotion. Together, they reflect my complexity as an artist and a man.

You often incorporate themes like women’s empowerment, ambition, and love. How do you see music as a tool for social change within the Nigerian context?

Music can change mindsets faster than any lecture. If I can make someone dance and think, then I’ve done my job. In Nigeria, where poverty and economic challenges are real issues, music can challenge norms, raise awareness, and inspire action. That’s why songs like “Fine Girl” are about appreciation, not objectification.

What message or legacy do you hope to leave behind for emerging Nigerian artists who may also come from creative families or dual-cultural backgrounds?

Don’t shrink yourself to fit expectations. Whether you’re following a legacy or building your own, let your authenticity guide you. Greatness is not about replication; it’s about elevation. Your background is your power, embrace it, express it, evolve with it.

Two tracks from Like Father, Like Son were featured in Orah, screened at TIFF and Cinéfest. How did this opportunity come about, and what does it say about the global appeal of Nigerian music?

The opportunity came through a Canadian-Nigerian filmmaker who resonated with my storytelling and sound. It was surreal. It shows that Nigerian music isn’t just club music — it’s cinematic, emotional, and universally relatable. We’re telling human stories through rhythm and I am extremely humbled and honoured to be part of this generation that’s elevating Nigerian music on the global scene

How do you handle creative control and business strategy under your independent label, and what advice would you give to other Nigerian artists seeking to own their sound and brand?

Being independent is hard, like extremely hard but it’s empowering. especially if you have your own trusted team around you. Music business is not what you can do alone, we make decisions together from song choice to release strategy, investing in knowledge; publishing, rights, marketing. My advice: own your masters, know your worth, and build a team that believes in your vision. Don’t just chase a hit, build a career.

What are your aspirations for the future of the Nigerian music scene, and what role do you hope to play in shaping it?

I want to see more diversity in sound, in voices, in narratives. I want our industry to have Grammy-level infrastructure, not just ambition. My role is to inspire, collaborate, and mentor. To be a bridge between past and future, between Nigeria and the world.

Are there any upcoming Nigerian artists you’re excited about or hope to collaborate with?

Yes! I’m really impressed by a lot of the new artists making waves in the industry. Their sound is fresh and fearless. I’d love to collaborate with artists who are not afraid to experiment and bring something new to the table.

How do you see Afro-funk evolving in today’s Afrobeats-dominated soundscape, and what role can genre-blending artists like you play in that evolution?

Afro-funk is timeless. It may not dominate charts, but it enriches the musical ecosystem. Genre-blending artists like me keep it alive by integrating it into popular styles. The funk is in the feeling, the message, the groove, the vibe. We’re not just preserving Afro-funk; we’re expanding its future. I’ll tell you for free that one of my most engaging social media posts till date is a song my father recorded in the 80s that I and my brothers and friends vibed to during the Christmas.