It’s a man’s world (and women get a tiny stage in the corner)

Being a female artiste in Africa is like playing chess, except your opponent moves freely while you have to submit a written request before making a move.

Work twice as hard, prove yourself five times over, and still someone, somewhere, will whisper, “She must have a sponsor!”

Meanwhile, a male artiste buys a yacht, and the world erupts in applause: “The grind never stops!”

The industry loves to pretend it’s fair, but if it were a football match, men would have the whole field while women play barefoot on gravel.

Record labels, event organizers, and sponsors hand male artistes the best deals, prime-time slots, and unlimited budgets.

Female artistes? They’re lucky if they don’t get mistaken for backup dancers.

And when a woman finally breaks through? The applause comes with a side of conspiracy theories. “She’s talented” is a rare compliment. More common? “Who’s bankrolling her?” or “She got lucky because she’s pretty.”

Because, obviously, writing hit songs and spending sleepless nights in the studio is a male-only activity.

Let’s talk fashion. A male artiste can roll up in slippers, a crumpled T-shirt, and jeans, and people will call him “authentic.”

A female artiste? She has to look like a Grammy award in human form, flawless makeup, designer dress, and heels that double as gym equipment.

But wait, if she looks too good, then she must be using her looks to get ahead. It’s a no-win situation.

The billionaire boyfriend theory

A female artiste buys a car, and suddenly, social media turns into a crime investigation unit. “Who bought it?” “It must be a politician.” “Her producer is in love with her.”

Meanwhile, a male artiste flexes a new mansion, and all you hear is: “Hard work pays off, bro!” No one questions the mysterious origins of his swimming pool.

The double standards are so bad, they deserve their own Grammy category.

Funding a career as a female artiste is like trying to fill a bucket with a hole in it.

Investors see male artistes as “serious business” and women as “risky investments.” And let’s not even start on the sleazy managers who think financial support should come with “extra services.”

Many talented women quit—not because they lack talent, but because they’re tired of fighting for a seat at a table built exclusively for men.

So, how do we fix this madness?

The African music industry has evolved, but some outdated mindsets need a serious remix:

Give women their flowers (without a side of suspicion). Can we just celebrate female artistes for their hard work instead of looking for secret sponsors?

And if she’s filling up stadiums and topping charts, she deserves the same deals as her male counterparts. period.

Also stay out of her personal life. Let’s normalize saying “congratulations” instead of “who paid for this?”

But we also need more women in power. More female producers, managers and label executives to rewrite the rules.

Support, don’t scrutinize. Instead of gossiping about how she got there, stream her music, buy her merch and show up for her concerts.

At the end of the day, talent is talent. Whether a female artiste is single, dating, or married to a billionaire, her success should be about her skill, not her relationship status.

So next time you see a female artiste winning, don’t ask, “Who’s behind her?” Ask, “Where can I buy her album?”