When former US secretary of state Colin Powell took to a London stage alongside Nigerian artist Olu Maintain in 2008 and danced to a song called Yahoozee, he almost certainly didn’t know that the track is widely understood in Nigeria as a celebration of internet fraud.
The moment became a striking illustration of something my research keeps returning to: how music can carry the moral codes of cybercrime far beyond their origins, laundering them in rhythm, recognition and prestige.
Over the last ten years I’ve studied cybercriminal pathways, romance fraud, victimisation of senior citizens, business email compromise, and the cultural politics of cybercrime.
My latest collaborative study examines 40 Afrobeats songs released between 2023 and 2025, looking for themes.
Afrobeats is the broad label often used for contemporary Nigerian and west African popular music that has come to dominate global streaming culture in the 2010s and 2020s. Driven by artists such as Burna Boy, Wizkid, Davido, Tems and Asake, it has grown from a regional sound into a global cultural force, filling arenas, winning major awards and shaping youth culture far beyond Africa.
Yet some of what travels with Afrobeats is more ambivalent. In the Nigerian context, the cybercrime most often referenced in music is linked to Yahoo Boys, a popular term for online fraudsters involved in scams such as romance fraud and advance fee fraud. In some lyrics, these figures are framed not simply as offenders but as resourceful hustlers or icons of success.
The songs in our study all contain explicit references to online fraud. All were performed by male artists. And all were globally available on platforms like Spotify, Apple Music and YouTube. What we found goes well beyond glorification. Afrobeats, we argue, is functioning as a moral text – one that actively rationalises, spiritualises and normalises cybercrime for millions of listeners worldwide.
In other words, some of this music is doing more than making crime sound cool. It is helping listeners make sense of online fraud as acceptable, even justified. It wraps criminal behaviour in the language of hustle, survival and divine favour, making it feel not just normal, but earned. And because Afrobeats is now heard everywhere, these ideas are travelling with it.
More than just ‘hustle culture’
It is tempting to dismiss fraud themed lyrics as bravado. They can seem like a form of performative edginess, not unlike gangsta rap. Gangsta rap is a branch of hip hop in which hustling, toughness and street survival became both narrative material and cultural style.
But that reading misses the depth of what’s happening. Our analysis shows that these songs use subtle rhetorical moves to present fraud as something other than wrongdoing.
One of the most pervasive techniques is what researchers call euphemistic labelling. Fraud is rarely called fraud in Afrobeats songs. It becomes “hustle”, “grind” or “blessing”. Lyrics frame scamming as honest work blessed by God, stripping away its moral weight. In one track, the phrase “work and pray for the payday” wraps a reference to cybercrime in the language of religious devotion and diligence.
Victims fare even worse. In these songs, they are rarely granted humanity. They become “maga” or “mgbada”, terms linked to the Igbo word for antelop