A growing number of African musicians are turning to generative Artificial Intelligence (AI) to produce album artwork, but a cohort of visual artists is pushing back, arguing that human collaboration remains essential to the creative process.
The Legacy of Intentional Cover Art
In 1977, Nigerian musician Fela Anikulapo Kuti and his band Africa 70 released “No Agreement,” a politically charged album. Its cover, designed by longtime collaborator Lemi Ghariokwu, featured a drawing of a bare-chested Fela playing saxophone, surrounded by oval shapes bearing words like Freedom, Justice, and Pan Afrikanism. The artwork directly echoed the album’s themes, a hallmark of Fela’s catalog that includes covers for “Original Sufferhead” (1981) and “Gentleman” (1973), the latter showing a monkey in a suit.
This tradition of visual storytelling is what many designers say is at risk. “An album cover is a dialogue between the artist and the creative,” said Niyi Okeowo, a Nigerian designer who has worked on projects for Fireboy DML, Show Dem Camp, and Wande Coal. “When done well, it brings both people closer, with the designer acting as an interpreter of what the musician is trying to say.”
AI’s Growing Presence in African Music
That dialogue is shifting as generative AI tools become more accessible. In May, Larry Gaaga faced criticism after using AI-generated visuals and cover art to announce a collaboration with Olamide and Mavo. Nigerian director TG Omori was also accused of employing AI to create the album art for Flavour’s “AfroCulture.” Such incidents have become more common as artists seek faster, cheaper alternatives to commissioned work.
Musai Gainyy, who has designed covers for Show Dem Camp, noted that cover art is often treated as an afterthought. “It’s usually more about the sound or beat and not the whole package, so when the music is done, the visual aspect comes last and usually in a rush so generative AI covers come as fast as they want whereas commissioning artists takes some time to perfect or to engage.”
The Case for Human-Led Design
Gainyy added: “AI risks removing that dialogue when it’s used to replace, rather than support, the creative process by simply generating whatever the artist asks for. Great album covers are shaped by conversations, shared experiences and cultural context. AI can’t replace that.”
For Okeowo, the process begins with listening to the music, identifying lyrical themes and emotions, then building a moodboard and a visual world that includes typography, imagery, and color. Desmond Seyram, a Ghanaian photographer and artist who has created covers for Stonebwoy and A-Town, takes a similar approach. “It always starts with talking, not with cameras. Before anything else, I want to understand the artist who they are, what the music is really saying, what emotion they’re trying to put across,” he said.
Seyram acknowledged that AI is a tool that is here to stay, but stressed the value of human interaction. “What can get lost is the human part of it, especially the back-and-forth, the experimenting, the collaboration between the artist and the creative team. Some of the best covers come out of those moments, and you can’t just type a prompt and get that. For me, AI should support the process, not replace it.”
Ghanaian photographer Nana Asomani, who has shot cover art for Baaba J, echoed that sentiment. “The human perspective in art can never be diminished as art comes from a place of emotions and being. Even in the development of AI arts, it is human inputs that are needed to create it.”
Evolving Practices Beyond the Album Cover
While these artists defend human-led cover art, they are also expanding their practices. Nigerian digital artist Jesse Uranta, known for psychedelia-tinged work for Fireboy DML, Tay Iwar, and Nonso Amadi, recently held his first solo exhibition after participating in group shows. “I had always chased hyperrealism with the human form in my work, and once I achieved that, I realised that I found it unexciting. Which led me to seek out ways to enjoy the process again,” Uranta said. “My work is constantly evolving, and I’m learning to embrace this evolution, seeing where it takes me truly. The most important thing for me when creating is the process of trying and seeing what’s conceivable and possible to bring to life.”
