Nigerian music has been one of the leading forces in African music. It is woven from a rich history, an ever-changing present, and a promising future.

From the soulful rhythms of Nigerian highlife music, groovy sounds of juju, and intricate sounds of Afrobeat to the global phenomenon of Afrobeats, enthralling rhymes of Nigerian hip hop, and the growing Alte scene, the Nigerian music scene has consistently put the best foot forward, influencing and being influenced by the world around it.

The history of mainstream Nigerian music started with the emergence of these popular genres —highlife, Afrobeat, and Juju.

Highlife is a genre that originated in Ghana. It started with the blend of traditional Fante rhythms and Western finger-plucking guitar patterns, described as Palmwine music. Jazz rhythms and other traditional instruments and rhythms, like the clave rhythm, later morphed into highlife music.

This genre which gained prominence in Nigeria in the 1950s, became a defining genre in the pre-independence era of Nigerian music. Artists like Erekosima Jim Rex Lawson, Victor Olaiya, and Osita Osadebe played a crucial part in creating music that captured the optimism of a nation on its way to independence.

The 1970s brought a shift to a new form of music with Fela Kuti’s Afrobeat and swing music—a revolutionary genre that combined elements of highlife, jazz, and funk with revolutionary political commentary. His music wasn’t just for entertainment; he used it to fight for change and challenge oppression, putting the country on the global music map in the process.

Juju music was initially created in the 1900s by Tunde King. However, the 1980s marked the rise of what is known as Modern-day Juju music, led by icons like King Sunny Ade and Chief Ebenezer Obey. During this era, Fuji music also emerged, pioneered by Alhaji Sikiru Ayinde Barrister and later led by Wasiu Ayinde Marshall (aka K1 De Ultimate).

These genres provided the soundtrack to Nigeria’s post-independence aspirations, blending social commentary and infectious danceability.

Fast forward to the 21st century, and Nigerian music has dominated airwaves across the globe. Afrobeats (not to be confused with Fela’s Afrobeat) has become Nigeria’s greatest musical and cultural export.

Artists like Wizkid, Burna Boy, Davido, Rema, and Tiwa Savage have crossed borders and surpassed the bars set by their predecessors, earning global recognition and redefining the international perception of not just Nigerian music but African music in general.

Wizkid’s Made in Lagos became a global phenomenon, earning over 3 billion streams across streaming platforms, and became the most successful commercial album by Afrobeats artists. Burna Boy’s Grammy-winning Twice as Tall album, while Davido’s Timeless (2023) has surpassed over 500 million streams, making him the 6th most streamed Afrobeats artist on Spotify with over 2 billion streams.

Female artists have also made significant efforts. Tems, the most recent global sensation, is the fourth most-streamed Nigerian act on Spotify with over 2.5 billion streams. Tiwa Savage, Yemi Alade, and many other female stars have continued to break barriers in an industry long dominated by men.

Rightly so, the internet, streaming platforms, and social media have been instrumental in this global takeover. Artists now have direct access to audiences worldwide at the tip of their fingers, eradicating the traditional gatekeepers.

The future of Nigerian music is promising, with a focus on innovation and experimentation. The industry boasts fresh, enormous talent, from the artistry of Rema and Ayra Starr to the streetwise sounds of Odumodublvck, Zinolessky, and Blaqbonez to the brilliance of Asake.

The industry has also seen the rise of Alte music, a futuristic genre, driven by Cruel Santino, Lady Donli, Tay Iwar, and Odunsi the Engine. This genre brings a refreshing new take to mainstream Nigerian music, diversifying the sounds.

These new artists have also taken the initiative of bringing old songs to newer audiences through sampling. Some of these innovative approaches include Asake’s Active, which creatively sampled Adewale Ayuba and Jazzman Olofin's 2006 song "Raise Da Roof", and Tem’s Love Me Jeje which sampled Seyi Sodimu feat. Shafy Bello's 1997 hit, “Love Me Jeje.”

Nigerian mainstream music, both past and present, truly reflects the creativity, talent, and ambition of Nigerian artists. Today, this musical landscape is characterized by global influence and success. Looking ahead, there is great potential for further evolution and sustainability, as new emerging acts continue to arise consistently.

Nigerian music has evolved from highlife, Afrobeat, and Juju to the global dominance of Afrobeats.

Nigerian Music: The Past, Present and Future

Nigerian music has evolved from highlife, Afrobeat, and Juju to the global dominance of Afrobeats.

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