Brymo Calls for Afrobeats Big 3 to Step Aside: “Rema Should Be the Biggest Pop Star Right Now”

In a bold and unfiltered interview on Wake Up Nigeria that has ignited heated debates across social media, veteran Nigerian singer Brymo has urged the so-called “Big 3” of Afrobeats — Wizkid, Davido, and Burna Boy — to make way for the next generation, singling out Rema as the artist who should currently dominate the mainstream pop space.

“Right now, Rema should be the biggest pop-star in the country, without any doubt,” Brymo stated. “Why are we still talking about Wizkid, Davido, Burna Boy, 2face, Olamide…?” He questioned the continued heavy rotation and focus on veteran acts, suggesting it’s time for them to evolve or shift focus, allowing younger talents like Rema to take center stage in mainstream Afrobeats.

The “Big 3” label has long referred to Wizkid, Davido, and Burna Boy, who have been instrumental in globalizing Afrobeats over the past decade. Their international breakthroughs, sold-out world tours, Grammy wins (notably for Burna Boy), and consistent chart dominance have cemented their status as pioneers and titans of the genre.

Rema, the Mavin Records signee, has rapidly ascended in recent years. With massive hits like “Calm Down” (with Selena Gomez), strong streaming numbers, and a high-profile sold-out performance at Madison Square Garden in New York, Rema has repeatedly declared the arrival of a “Big 4” era. During his MSG show, he famously proclaimed, “No more Big 3, there’s now a Big 4,” positioning himself firmly among the elite.

Brymo’s comments come at a time when discussions about generational shift in Afrobeats are intensifying. While data from Q1 2026 still shows strong performance from the veterans (with Wizkid leading domestic Spotify streams), Rema and other young acts are closing the gap with global appeal and youthful energy.

Brymo, known for his outspoken nature and alternative sound that often sets him apart from mainstream Afrobeats, didn’t stop at praising Rema. He has previously criticized top artists for frequently jumping on remixes of emerging acts’ songs, arguing it can hinder rather than help new talents by seeking relevance at their expense.

His latest remarks tap into ongoing conversations about legacy, evolution, and radio play. Why, he implies, do stations and conversations keep revolving around established names when fresher voices are ready to lead?

Brymo’s intervention highlights a classic tension in any thriving music scene: the balance between honoring pioneers and empowering the new wave. Afrobeats has grown from a regional sound to a global phenomenon, partly thanks to the Big 3’s groundwork. The question now is whether the genre’s future lies in continuity, a full handover, or a dynamic coexistence.

Whether or not the Big 3 “step aside” remains to be seen — artists rarely retire on demand. But Brymo has thrown down the gauntlet, championing Rema as the face of Afrobeats’ next chapter. In an industry built on hits, streams, and cultural moments, the conversation Brymo started ensures that the debate over who wears the crown will only grow louder.