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By focusing on the musical styles known as bossa nova and afrobeat, I ask: Given that globalisation/capitalism promotes exchange, borrowing, and imitation, can we make sense of ‘authenticity’? Can we speak of an authentically Brazilian or Nigerian music? If today ‘authenticity’ makes little sense, why is talk about ‘authenticity’ so pervasive? If we expose ‘authenticity’ as reification, do we still need this term? What, then, may ‘authenticity’ mean? How can we restrict powerful musical cultures without limiting localities to replicating the past? How can cultures take up each others’ vitality without losing their particularity? Can we imagine a world stage inviting all music? I explore the astonishing but mostly uncharted flows between and within musical traditions. At the same time, I seek to ground those flows in locales. Moving somewhat against the grain of contemporary social theory, I retrieve the need for ‘reification’ and ‘authenticity’. If we value a diverse world, we may wish to balance capitalism’s dominant flows with the desire to situate music-making in specific locales

Gigging on the World Stage: Bossa Nova and Afrobeat after De-reification