What is Alté: How Nigeria’s most prominent alternative community continues to thrive
"I think the alté scene is at a crucial juncture."
If you were an even mildly internet-savvy and culturally-aware teen or twenty-something growing up in Lagos back in 2016-17, then you more than likely remember the advent of the alté scene. Through the colourful words of frontrunners such as Cruel Santino, Odunsi (The Engine), DRB, and more, a vibrant and exciting cultural movement quickly captured the minds of young people across Nigeria. The subculture represented left-field styles of thinking through music, fashion, politics, tech and the arts. Alté started as a rebellious response to a traditional way of thinking, but it was most popularised by its genreless sound. And although now a globally-acknowledged movement, its origins are more multi-layered than many would assume.
There was the first coming between 2009 and 2014, heralded by the likes of DRB LasGidi, L.O.S, Ajebutter22, Show Dem Camp (SDC), and Blackmagic. These artists—many of whom were still secondary school students—emerged placing an uncommon emphasis on creativity, individuality and authenticity, while merging Western and local influences to produce music that was unlike anything coming out of Africa at the time. At first, the music was mainly shared through closed circuits—house parties, BlackBerry Messenger group chats, peer-to-peer Bluetooth sharing—but the internet and MP3 blogs made the music more accessible to anyone who happened to be curious enough. The creators had power in their hands and the ability to capture audiences attention with each daring choice.
The term ‘alté’ wasn’t coined until around the subculture’s second coming in 2016—a creative renaissance led by likes of Odunsi [The Engine], Santi (now known as Cruel Santino), Lady Donli, Amaarae, Tay Iwar, Fasina and Nonso Amadi. This new crop of young mavericks were even more united by their desire for experimentation, tapping into the deepest parts of their psyche to produce otherworldly music and crafting immersive worlds around experiencing it. As a subculture, the ethos remained the same, but the only difference was the increased avenues for connection and community-building. Technology advancements saw platforms like SoundCloud become the nexus point for them to share their music and build a community of ardent listeners and supporters both at home and abroad. Community-driven events like 90s Baby, NATIVELAND, The Basement Gig, and The Lemon Curd also offered a safe space for these artists to showcase their abilities and connect with their fans as well as like-minded creatives, in a way that mainstream platforms had failed to.
Soon enough, the alté scene expanded its terrain, spreading wider across fashion, film, and photography. Drawing inspiration from nostalgic early aughts media, the alté aesthetic quickly became a distinct marker for creatives who were dedicated to bucking traditions and living their truth. Meanwhile, on the music front, the scene grew richer and even more diverse with acts like Tems, Yinka Bernie, Prettyboy-DO, AYLØ, WurlD, WANI and Wavy the Creator catering to various types of listeners all searching for fresh sounds within Afropop. “Alté artists, at the time, represented something bigger than music,” says culture journalist Adaobi Ajegbo. “They represented a whole new generation of talent, adopting elements from pre-existing culture to create their own. Their newness was very fresh and it was very much like a rebellion against the norm, and doing something that had never been done before.”
But with rebellion came opposition, as the mainstream struggled to accept the alté scene’s desire for individualistic expression, criticising their experimental sounds and style choices, and ostracising them from industry events. Despite efforts at cultural advancement, Nigeria remains a deeply conservative society, and any attempts at going against the grain are often met with scepticism and derision. It’s no surprise then that alté—a culture that champions individuality and a sense of notoriety—was met with pushback from cultural gatekeepers and the wider public looking to maintain the status quo. “It was just a lack of understanding,” Ajegbo says, further explaining the mainstream’s initial rejection of the scene. “People always have an issue with something new, until they see the vision. They just didn’t see the vision at the time, especially when it was so different from what was common in Nigerian music.”
Yet, despite these obstacles, the defiance and determination of the movement have set a precedent for radical individualism among younger artists. Luminaries like Cruel Santino, Odunsi [The Engine], BOJ and Lady Donli have inspired a new vanguard of alternative artists while creating a playing field where they are confidently accepting the ‘alte’ tag—something that wouldn’t have happened a few years ago.
From acts like Somadina, SGaWD, brazy, Oshunda, VNTAGEPARADISE and Forevatired (now defunct), this crop of fresh talent are looking back to the near-past, and ahead to the future, while crafting sounds that are unique to them. Sonically, we could draw parallels between this new generation and their predecessors—the tight-pocketed bounce and groovy cadence on Oshunda’s “Dine” and “Battle Angel” harken back to Cruel Santino, while Somadina’s new-found psychedelic aesthetic is highly reminiscent of Odunsi [The Engine]. Still, what has inspired them the most is the courage their predecessors showed in chasing the freedom to create.
“I feel like they were the kids who really hacked Soundcloud,” explains culture journalist Chinonso Ihekire of Cruel Santino and Odunsi [The Engine]’s impact. “They understood its international significance, or maybe not, but they soared on that leverage. They rebelled consistently against the norm in fashion, music, [and] music marketing, especially with their unique style of making music videos and promoting themselves on social media. That sense of audacity was alluring.”
Even while passing along the baton, the older generations of alté artists aren’t slowing down anytime soon. Tems has gone from performing for a niche audience to winning a Grammy award, bagging an Oscar nomination and collaborating with the likes of Beyonce, Rihanna and Drake; Cruel Santino and Odunsi [The Engine] are scoring slots at international festivals and touring the world, Amaarae’s music has travelled a long way from the storied halls of SoundCloud to the top of Billboard charts, and Show Dem Camp has remained generationally relevant while also incubating new talent. And in many ways, their sense of individuality has equally inspired the mainstream, breathing new life into its cultural landscape.
Landmark collaborations like Odunsi [The Engine] and Davido’s “divine,” Wizkid and Tay Iwar’s “True Love” (and Iwar’s songwriting credit on Wizkid’s “Steady”) as well as Tems and Wizkid’s global smash “Essence” are just a few examples of how the genre has expanded the sonic scope of Afropop. And with emerging and established acts like Ayra Starr, Asake, Fireboy DML and Adekunle Gold adopting video aesthetics and fashion choices from altéculture, the movement’s impact on the mainstream can no longer be denied. “Everyone is comfortable enough to be vulnerable and abstract with their music, because of these pioneers,” explains Ihejirika. Still, there’s something to be said about the mainstream co-opting altécultural codes and sounds but not embracing the scene as a whole.
“I think the alté scene is at a crucial juncture in terms of where the sonics and aesthetics can go and what the goal for the scene and its stars is,” suggests culture journalist Wale Oloworekende. “There’s criticism that the Nigerian music industry has not embraced them wholeheartedly but I think there needs to be reflection on both sides. Alte music has gone hyper-specific as Afropop is entering its mass-market era and that speaks to the foundational ethos of individuality that propelled the scene to global fame. Still, it would be nice to see projects that mix that free-wheeling sense of experimentation with a stylistic nod to Afropop elements like Amaarae’s debut did and songs like Odunsi’s ‘Fuji 5000.’”
One factor that played a critical role in the rise to prominence of the alté community is the progressive work put in by each successive generation of the community. Starting from the pioneering work of collectives like L.O.S and DRB LasGidi, who largely laid down the alternative ethos and founded the precept of tight-knit camaraderie within the community. Others like Odunsi, Cruel Santino and Lady Donli set the stage for what the alté sound could aspire towards, taking creative risks that paid off and stamping a defined sonic identity for the community. Newer generations are now building on the work of their predecessors, with artists like brazy, Somadina and Azanti taking the sonics and creative aesthetics to a whole new level.
Yet, as the scene has progressed, many worry it may be losing its communal essence. Born in the cultural fringes, the alté scene has historically touted a sense of solidarity and collaboration among its members. But these days, there’s a visible lack of camaraderie within the community that has translated to a gradual dearth of prominent cultural institutions to celebrate their sound. Perhaps this might be one reason alté music hasn’t been able to solidify its place in the Nigerian music scene after all this time.
Critics of the alté movement argue that it didn’t “scale as well as it could have when it needed to” while rallying for more cross-industrial collaborations with the mainstream. “We already exist in an industry that doesn’t have structure. So when you are trying to develop a subgenre in such a space, it’s difficult,” explains Simi Badiru, Head of Artist Services & Relationships, Trace West Africa. “I just feel the alté community needs to try as much as possible to plug themselves more into more mainstream conversations, because at the end of the day, you can’t do everything yourself.” In some ways, this is already happening: just recently, Cruel Santino released the full version of his TikTok viral number, “Showmetheway !!,” which featured street pop culture icon Poco Lee.
Unanimous mainstream acceptance – sans co-opting – may still be far off, but the impact of acts like Cruel Santino, SDC and Odunsi will only continue to be evident in future generations to come, inspiring them to reinvent the genre’s sonic wheels. “Are we going to see more artists like Santi?” questions Badiru. “Probably, but then again, I feel like there’s going to be somebody else that comes to completely change [the] game. It’s been done before, it can be done again.”
ICYMI: THIS GOOGLE AFRICA DOCUMENTARY CELEBRATES THE VIBRANCY OF THE ALTE SCENE
Skyla Tylaa Is Taking Off
For the next phase of her career, Skyla Tylaa is actively working on creating music while entertaining with...
As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was music or stage performances, she found herself exploring these interests intently from a young age. That devotion manifested in multiple ways – her attending the BRIT School and Sylvia Young Theatre School where she performed in a West End production of Annie or her fiddling with several musical instruments while she figured out her creative identity. Through it all, music was a constant, the backdrop to her home life where she grew up between Jamaican and English influences. She remembers being exposed to Drum & Bass, Funky House, and Garage. “I think that’s had a big influence in my DJ career,” Skyla Tylaa admits.
Progressing into adulthood, those musical influences persisted even if she didn’t always engage with them professionally. Things changed when she started DJ-ing during the COVID-19 pandemic. Possessed by a visceral desire to experience the euphoria of interacting with people through music, she burrowed deeper into DJ-ing. “I couldn’t be in my room and just have people commenting,” she recalls. “I need to see people’s energy, and feel everything in the moment.”
Since then, she’s enjoyed a meteoric rise that has taken the world by storm. Mentored by DJ Tunez, she performed multiple times on the American leg of Wizkid’s ‘Made In Lagos’ tour and came out of the experience raring to go. “Opening for Wizkid on his tour was a transformative experience,” she says. “It taught me a lot about resilience and adaptability in my craft. I was still pretty much a start-up DJ when I went on tour and it made me really realise how important it is to connect with the audience. Touring from city to city with different crowds, it helped me to learn how to read the room and keep the vibe going.”
Almost as importantly for Skyla Tylaa, Rihanna was present at one of those tour stops and was impressed by her set, stopping by after the show to congratulate her. “After that I felt like I could conquer the world,” she says. Since then, she’s been selected by Rihanna to DJ at a Fenty X Puma Creeper launch event in London in 2024, marking a full-circle moment between the women.
Like Rihanna, Skyla Tylaa is inspired by music from the breadth of the Black diaspora, playing sets that take as much influence from the fervid restlessness of Hip-hop as they do the wavy melodies of House music, and the dancefloor summons of Afrobeats “I love partying! I genuinely love it,” she explains. “When preparing my sets, I’m always thinking of people having a good time. Whatever I can do to connect with them, I’m down to do it!”
In the last few years, few genres have shown the propensity for inspiring a great time with the regularity that Amapiano does. From Johannesburg to Windhoek, to Lagos, London, and New York, the log drums and mutating basslines of the genre have proven integral to a new Pop framework that is as amorphous as it is exhilarating. Since first hearing the genre while on a visit to Ghana years ago, Skyla Tylaa has been hooked. “It was the log drum, the sound, just the vibes that came with it,” she says. “I was like ‘wait – what is this?’ When you hear Amapiano, it’s one of those sounds that no matter what, you’re gonna dance.”
Diving into the genre, she’s picked up valuable lessons from important figures like Maphorisa, Uncle Vinny and Major League DJz while putting her youthful spin on the sound. It’s all coming together for the DJ who’s working with her sister, music heavyweight Jada Pollock, to figure it all out one step at a time. “When I found my passion for DJing, Jada was right there, urging me to dive into the ‘Made in Lagos’ tour,” she says. “I wasn’t sure I was ready, but she believed in me and knew I could handle it. My love for music has been with me since school; it just took some time for me to realize that this was the direction I wanted to pursue. Once I found my calling, her support became endless–she attended my early gigs and pushed me to perform at major festivals like Afro Nation.”
She’s since performed at leading festivals such as Wireless, Piano People and Australia’s Promiseland as well as selling out headline shows across London, London, and Ghana. For the next phase of her career, she’s actively working on creating music. This month, she released her debut single, “Bombshell,” a searing Amapiano banger that has all the hallmarks of a potential summer hit. “Bombshell” features Tanzanian Bongo Flava act, Diamond Platnumz, as well as South African acts, Tyler ICU, Khalil Harrison, and DJ Exit. It’s a blockbuster showing that sits well in the tradition of the genre. “The idea was initially played to me by Tyler ICU in March 2024,” Skyla Tylaa says. “He and I had a session while he was in London, and this was one of the ideas we worked on. Khalil was already on it, at the time, and I loved what I heard!”
After seeding it into her live sets last summer and starting live teasers with a dance challenge, Diamond Platnumz reached out about potentially working on the song and it was arranged. “I started teasing the new version of the song in my sets and then a whole new viral dance challenge came about online in December,” she says. “From that point, I knew the track had all the elements (features included) to be a big release in 2025 !” For DJ Exit, a chance to be part of a transformative song like “Bombshell” was an opportunity he didn’t want to pass up. “What drew me to this single was the chance to be part of something boundary-breaking,” he explains. “Gqom and Amapiano are both powerful in their own right, but fusing the raw, percussive energy of Gqom with the soulful, hypnotic swing of Amapiano creates a sound the world hasn’t fully experienced yet. This isn’t just another collaboration–it’s a cultural statement.”
The Xhosa word, ‘basazomangala,’ meaning ‘to be shocked,’ is uttered several times on “Bombshell,” and it reflects the message that Harrison was trying to pass on the track. ““Bombshell” is really about letting people know that there’s still so much more to come from me,” he says. “It’s a celebration of the present moment, but also a reminder that this is just the beginning. We’re all dancing to what’s happening now, but there’s an energy in the air that says the best is yet to come.”
In light of Amapiano’s rise to global prominence and the international acclaim it enjoys, Harrison is right about more things being on the horizon, and Skyla Tylaa agrees with him: “When I was introduced to Amapiano, I fell in love instantly and that time it was just on the verge of global appeal. It’s global now and still growing and that makes me appreciate it even more! I love it, and the world loves it! The feeling is mutual ! We can all enjoy it together!”
For Tyler ICU, having DJs from the diaspora like Skyla Tylaa engage with Amapiano and its culture is a win for the genre. “This shows the power of the genre–it’s not just a sound, it’s a movement,” he says. “When someone like Skyla, who appreciates the culture and brings her own flavour, plays Amapiano in places like London, New York or Toronto, she’s not just playing music, she’s building bridges. That’s how we grow–by letting the world feel it in their own way, but staying true to where it started. It’s important that the roots are respected, but the branches can reach far.”
Just a couple of weeks since its release, “Bombshell” has crossed over 650,000 thousand views on YouTube and continues to be a sensation on TikTok. Like everything Skyla Tylaa has done up till now in her career, it’s shaping up perfectly and has shown that she has a knack for the right collaborations. She intends to keep making music. “This year, my focus is all about music,” she says. “I recently signed with Robots and Humans (Sony) in the UK and Epic in the US, which has given me a different level of drive to really want to create good music. I’m also looking forward to exploring the Afro-house genre and collaborating with other talented artists.”
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What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
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NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”
From working her way out of London’s Myatt’s Field, Tanika is now setting her sights on the bright lights...
Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.
Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter.
On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest.
Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song.
From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it.
Her answers, which follow below, have been lightly edited for clarity.
How would you describe where you are in your career right now?
I’m just enjoying the journey.
What does the release of “Fast Fwd” signify for you?
It signifies love.
Why is Kida Kudz a fit for the song? (
To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship.
You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work?
Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel. I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you. A lot of producers don’t really understand the importance of knowing the artist musically but he does.
What were you aiming for with the video?
To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.
Catch an exclusive view of “Fast Fwd” below.
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