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Hollywood is increasingly turning to African music ecosystems to shape the cultural identity, marketing strategy and global reach of major film franchises. The appointment of Nigerian singer Tems as executive music producer for ‘Children of Blood and Bone’ reflects a broader shift that places African artists at the centre of soundtrack strategy, cultural world-building and the creative architecture of global entertainment properties.
A new African-inspired fantasy film is emerging as one of Hollywood’s most ambitious Black-led productions in years, bringing together South African actress Thuso Mbedu alongside Viola Davis, Idris Elba, Cynthia Erivo, Chiwetel Ejiofor and Nigerian singer Ayra Starr.
The first trailer, released in July 2026, introduces audiences to Orïsha, a mythical kingdom where magic has been violently erased by a ruthless monarchy.
The story follows Zélie Adebola, who embarks on a quest to restore magic to her people. The novel debuted at number one on the New York Times Young Adult bestseller list, spent more than 120 weeks on the list, and has been translated into more than 30 languages.
Beyond its scale, ‘Children of Blood and Bone’ highlights the role African music is expected to play in shaping the film’s global identity and audience reach.
Paramount has appointed Grammy-winning Nigerian singer-songwriter Tems as executive music producer and curator of the soundtrack, giving her oversight of its creative direction and artist selection.
The soundtrack is expected to feature some of Africa’s biggest contemporary artists, including Grammy winner Burna Boy, Grammy-nominated singer Ayra Starr, Fireboy DML and BNXN.
According to author Tomi Adeyemi, the story was inspired by discovering the Yoruba Orisha tradition and realising that African mythology could sustain epic fantasy on a global scale.
Speaking to the BBC, she explains that the inspiration came after seeing representations of the Orisha in Salvador, Brazil and learning that the tradition was rooted in Yoruba culture, her own heritage.
“We still don’t have enough stories, enough representation of people who look like us being that protagonist, being the person to slay the dragon, being the person to ride the giant lion,” Adeyemi said. “I hope that they come away from this book feeling as magical and powerful and beautiful as they are.”
That creative vision helps explain why the soundtrack has become central to the adaptation. The film is building a fantasy world whose mythology, language and emotional identity are rooted in African cultural traditions.
The film reflects a broader shift in the global entertainment industry. Hollywood studios are increasingly using African music ecosystems to build the cultural identity, marketing strategy and international appeal of major film franchises.
The soundtrack announcement is significant because Tems is shaping the film’s musical architecture. Her appointment places an African artist at the centre of a Hollywood production’s soundtrack strategy, a level of creative influence that has become increasingly important as studios use music to build franchises across cinemas, streaming platforms and global fan communities.
The shift has been building for several years.
Marvel’s ‘Black Panther: Wakanda Forever’ demonstrated how African music could drive franchise world-building and deepen the cultural identity of a global entertainment property. The 2022 film grossed about US$859 million worldwide, making it one of the highest-grossing films of the year.
Its soundtrack featured Tems, Burna Boy, Fireboy DML and CKay, while recording sessions for parts of the project took place in Lagos. The soundtrack helped extend the film’s cultural reach across African and diaspora audiences, generating streaming momentum and music-driven marketing that continued well beyond the theatrical release.
Disney pushed the model further with ‘Mufasa: The Lion King’ in 2024. The film earned more than US$720 million worldwide and relied heavily on South African musical leadership through composer and producer Lebo M, whose vocal arrangements and multilingual African musical contributions have become central to ‘The Lion King’ franchise.
Mufasa embedded African musical traditions into the sonic identity of one of Disney’s most valuable global properties.
African artists have expanded from soundtrack collaborations into soundtrack leadership, creative direction and franchise world-building, with growing influence over how films sound, feel and travel internationally.
Tems’ appointment comes at a time when African music is becoming one of the fastest-growing segments of the global music business.
According to the IFPI Global Music Report 2026, recorded music revenues in Africa grew 15.2% in 2025 to reach US$120 million, more than double the global industry growth rate of 6.4%, with South Africa remaining the region’s largest market.
Streaming has become the main engine of that expansion. IFPI reported that global streaming revenues exceeded US$22 billion in 2025, while African artists continued expanding across international streaming platforms, major label partnerships and global soundtrack collaborations, increasing the value of music publishing, synchronisation licensing and soundtrack rights in film and television.
A soundtrack featuring artists such as Tems, Burna Boy and Ayra Starr immediately connects a film to millions of African and diaspora listeners across streaming platforms, social media and live performance networks.
The soundtrack becomes a parallel marketing engine, capable of building audience engagement before a film reaches cinemas and sustaining attention long after release.
‘Children of Blood and Bone’ was filmed across South Africa and the Canary Islands in 2025, while its cast brings together talent from across the African continent and the global Black diaspora.
The soundtrack extends that collaboration into music, linking African performers, producers and audiences to a franchise-scale fantasy production rooted in African mythology.
Damson Idris, who plays Prince Inan in the film, has suggested that audiences will experience a similar sense of cultural scale to Black Panther.
Speaking to ELLE, he said: “The same feeling you had when you walked out of Black Panther is what you’re gonna feel with this, but to an even greater extent. We’re creating something that you have not seen before.”
Director Gina Prince-Bythewood has also emphasised the scale of the production. After filming wrapped, she wrote on Instagram: “That is a wrap on production! 74 days. Two countries and two islands. A passionate and dedicated crew. And an extraordinary cast who gave everything. And the journey has just begun.”
Credit: Bonface Orucho, Bird Story Agency.
