Unlike ajísari, which could be performed solo, wéré is typically performed in groups of up to ten or more. These groups would compose songs, practice dance moves, and perform in the streets at night, starting shortly after the Isha'a and Tarawih prayers around 8:00 PM and continuing until about 4:00 AM. As they roamed the streets singing and dancing, they created a lively, communal atmosphere, chanting spiritual messages that praised Allah and conveyed other religious themes. Toward the end of Ramadan, these ajiwere or oniwere groups would gather in town halls for competitions, with prizes like a silver-plated trophy awarded to the best performers. These contests were community-wide events dating back to colonial times when wéré music was performed to bring people together and reinforce faith through song and dance.

The end of the colonial period in the 1950s marked an important evolution for wéré music. Yoruba kings began inviting these performers to their palaces for competitions celebrating the close of Ramadan. Whole towns gathered to watch, with judges appointed to choose the best groups. Kings awarded trophies, creating a sense of status and recognition for the most talented performers and inspiring them to rehearse throughout the year. These competitions not only made wéré music more competitive but also helped it gain a broader cultural appeal, producing a generation of skilled vocalists.

The genre reached mainstream Yoruba culture in the 1970s, thanks to figures like Alhaji Dauda Akanmu Epo-Akara, whose influence popularized wéré music across Yoruba regions, especially in Ibadan. Wéré’s popularity paved the way for fuji music, created by Sikiru Ayinde Barrister, who started as a wéré singer. Fuji music retained the essence of wéré but introduced urban sounds and Yoruba drumming, bringing a fresh appeal to both Islamic and Yoruba audiences. This transition marked a new era for wéré and its influence, shaping modern Yoruba music and launching the genre into broader popular culture.