The Wheel Turns
While alarmists send warning signals about the global decline of Afrobeats and impending genre death, new life bubbles incessantly in the dynamic world of the Nigerian underground. It is a renaissance that has been long overdue and promises to turn the old order on its head– whether it is ready or not.
This renaissance is beautifully reminiscent of the alte movement of the late 2010s, which was spearheaded by the likes of Cruel Santino (Santi) and Odunsi The Engine. Ironically-or rather poetically-Santi remains a key pillar of the underground renaissance, making his mark through co-signs and the creation of platforms like the Subaru World stream, which have allowed several artists to reach a wider audience. For instance, it was on Santi’s stream that many of us first heard the irresistible hook of Zaylevelten’s “Watching Me”, a harbinger of times to come. 2025 breakout star Mavo also made an appearance on the stream, positioning him for the stellar run he has embarked on since then. Through pioneering digital assets like Subaru Live Radio, Santi continues to be a custodian of both the culture and the future of the sound.
What Makes The Nigerian Underground Different?
Though they share the same penchant for genre fusion, experimentation and intentional community building, the Nigerian underground collective bears distinct markers that set them apart from their predecessors. They are not afraid to make music that carries little to no traces of conventional Afrobeats, nor do they seem to be succumbing to the pressure to do so. Artists like Indi, whose addictive, ultra-feminine sound is a crossover between hyperpop, breakcore and electronic dance music, are prime examples of this. This defiant edge means they are forging a world in which the old rules no longer apply, putting an end to the perennial dilemma that has plagued Nigerian artists: appeal to the mainstream or remain unknown.
It has also forced the industry to answer another question-what really counts as Nigerian music? The generic answer is Afrobeats, but the Nigerian underground has presented an alternative reality, one in which they define the sound and not the other way around. Through
the deft incorporation of Nigerian languages, semantics, Afropop culture references and innovative samples into their music, they have proven that their understanding of the culture is elemental, inherent. They are not removed from it simply because they choose punk-infused instrumentals over classic drum beats.
For artists like Onoola-sama, T3agray and Luwa.Mp4, this is especially true. The chameleonic Onoola-sama defies definition; rapping, singing and dabbling in everything from Dominican bouyon to fuji. Her latest melodic rap single “I Seen You Yesterday at Norma”--which references a popular suya spot in Lekki, Lagos–signals a detour from the high-octane energy of her 2025 EP “FujiBouyon+”, throwing yet another curveball at listeners.
Similarly, T3agray–alongside his talented long-time producer Chaz—is pioneering a sound he has dubbed “Jungle Punk”, reconstructing genres like rock, punk, afrobeats and melodic rap to fit the mold of his multicultural identity. Luwa.Mp4, who made waves with his 2025 single “Cyk Baddie” feat. Jeleel, reimagines the nostalgia of 2000s Afrobeats through electronic trap beats combined with emo inflections and aesthetics. Each of these artists has succeeded in creating a sound that stands out against the norm while remaining unmistakably Nigerian.
Another prevalent distinction between the two eras is the heavy influence of rap and hip-hop on the music coming out of the Nigerian underground. Perhaps the most prolific example of this is rapper and producer Zaylevelten (a.k.a Tenski), whose command of Nigerian street slang makes his experimental trap music sound just like home. His latest project “Then 1t g0t crazy” is well on its way to becoming a cult classic, negating the claims that Nigerian hip-hop is dead. Other artists treading a similar path include Wavestar, best known for his stand-out performance on Mavo’s monster hit “Escaladizzy”, and rapper Kayode, who recently went viral for his genius reinvention of Fuji classics, sampling them over captivating trap instrumentals. In the same vein, Igwe Aka’s latest single “KAPOW” (feat. Tochi Bedford) combines the syrupy dialect of the East with an alternative rap beat, creating a sound that has roots in both rural and urban spaces.
A Generation Committed to Breaking The Monolith
Monotony is not a word that exists in the Nigerian underground. While the mainstream industry struggles to innovate beyond the homogenous, one-size-fits-all formula that is now showing signs of stagnancy, the Nigerian underground is excavating novelty at an unprecedented rate. They are instinctive neoterics, able to forge new paths at will. This can be attributed to their multi-skilled, hands-on approach to the creative process, with many of them doubling–or tripling–as their own producers and sound engineers. To them, “genre” is a phenomenon as insubstantial as play-doh, made to be reshaped and manipulated according to one’s artistic caprices. This has been an unsettling development for some, who argue that Nigerian music is being watered down with foreign sounds, and that soon it will cease to carry our cultural DNA.
On this we cannot be certain. We are not prophets. No-one can say whether the music coming out of Nigeria will sound completely different in the years to come, but we would wager that the Nigerian Underground is currently the industry’s best bet at escaping gentrification and redundancy. The artists we currently see emerging from the roads less travelled are not strangers, but a native crop of self-starters and visionaries who are fearless in their pursuit of a much-needed revolution. What is more Nigerian than that?
Let’s Put You On
If you’re still not familiar with some of the voices from the Nigerian underground, this list is a good place to start:
Princessa (single)- Indi
Money Trees (single)- T3agray feat. CantStopFiends & Underdawgbuju
I Seen You Yesterday at Norma- Onoola-sama
Prada Baby- Wavestar
CYK BADDIE- Luwa. MP4
Supreme Dee- Deela
Kings of Leon-Lou Kadara
Egonomics- Igwe Aka