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
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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