One question that has sparked unending debate in the Nigerian music industry remains, "Is Alté Music Dead?" While some believe it has just evolved, others argue it has lost its essence when Nigerian mainstream music like Afrobeats absorbed most of its elements.

Some Alté purists still hold on to what remains of the genre, refusing to accept the argument that the movement is damaged beyond repair. Therefore, it might be safe to say that Alte is not dead; it’s simply evolved and doesn’t receive the same recognition as mainstream music.

Another question that comes to the fore is: "Was Alté ever meant for everyone?"

In the early days of the movement, it was driven by individual creative freedom, experimentation, retro fashion, and retro lifestyle. Names like Cruel Santino, Odunsi (The Engine), Lady Donli, and BOJ pioneered the wave of genre-defying music that stood apart from the mainstream norm. Many people called Alté weird, some believed it was futuristic, rebellious, and most importantly, exclusive. Nevertheless, the interest grew.

But Alté had a weakness—its exclusivity. The music was often too experimental, appealing to a selected group of listeners. This means that if you never found alté interesting, chances are, you might never.

The Nigerian music industry thrives on relatability by fans and mass appeal, and alté for the most part, didn’t really deliver that. While its aesthetic, vintage fashion, psychedelic beats, and dreamy storytelling stood out, the music itself often struggled to break out of its community.

At this time, mainstream artists were watching. They carefully took notes. They studied Alté’s visual storytelling, its creative freedom, and its genre-bending approach. Then they found a way to make it work commercially. Artists like Fireboy DML, Rema, Tems, Omah Lay, Victony, and Ruger are not Alté in the traditional sense, but their music carries the essence of what the movement was created for—experimentation, genre fusion, and a fearless, individual approach to sound. They balanced the movement’s essence with the familiar feel of mainstream music.

With this, it's safe to say Alté did not die, it just wasn’t built for mainstream commercial dominance. Why would the world focus on the underground movement when they can get a sprinkle of Alté music from those artists that could give the fans a bit of Alté’s essence and simultaneously give them music they could all dance to?

In general, Alté left an indelible mark on Nigerian pop culture. But in terms of music, it couldn’t transition from the large underground hype to a long-term commercially successful genre. This may be because several alté artists resorted to staying true to their craft. Meanwhile, a few like BOJ and Odunsi (The Engine), found ways to blend into the larger Afrobeats industry while still maintaining their initial identity.

The question of Alté's 'death' in the Nigerian music scene sparks a debate that highlights the genre's transformative impact.

Is Alté Dead?

The question of Alté's 'death' in the Nigerian music scene sparks a debate that highlights the genre's transformative impact.

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