The Nigerian music industry is filled with chameleons of sound. It is a place where different artists can choose to take on different forms, bring new sounds to the soundscape, influence new generations, break multiple records and top charts, and build a legacy. While Afrobeats has unarguably elevated Nigerian music to unprecedented international acclaim, its success has driven established and aspiring artists to solely embrace the Afrobeats genre as a result of the attractive accolades tied to it and this decision to be boxed has stifled their creativity, ultimately making New Music Friday lists sound recycled with identical and uninspiring songs.

Despite several mainstream artists releasing Afrobeats records and albums, it is impossible not to recognise others who have chosen to bring their unique contributions to the soundscape, especially considering the chances of being overshadowed by mainstream music. But the Nigerian music industry is no stranger to innovation; for decades, it has been a potpourri of different sounds and an emergence of unique pioneers.

From Fela to King Sunny Ade, Chief Commander Ebenezer Obey, Alhaji Musiliu Ishola, The Lijadu Sisters, Queen Salewa Abeni, Asa, Lagbaja, Styl Plus, The Remedies, William Onyeabor, Tuface Idibia, Beautiful Nubia, and many others, these artists have blended traditional rhythms with global sounds to create some of the most dynamic music in the world. They all refused to play by the rules; thereby inspiring future generations to create unorthodox music. The new generation has taken the baton to challenge conventions, break genre boundaries, and merge sounds.

Exploring the new generation of artists and music that exist outside Afrobeats is not only essential to appreciating Nigeria's full creative potential but also reveals that more unconventional sounds and artists can emerge from the Nigerian music industry. This article looks into the innovative efforts of artists who, undeterred by the overwhelming dominance of Afrobeats, are boldly expanding the soundscape and redefining what Nigerian music can sound like. Whether you’re a seasoned fan of alternative music or curious about Nigeria’s next wave of innovation, these are some of the artists who are creating incredible music outside the popular genre.

‍

‍

Among them is the Port Harcourt-raised musician, Wizard Chan. In 2020, he made his debut with “Halo Halo,” but it was his soul-stirring performance on the hit record “Earth Song” that completely catapulted him to the mainstream, earning him his first Headies award in the Best Alternative Artist category. Since his ascent into the mainstream, he has continued to craft heartfelt stories in his music, incorporating local instruments and singing in his native language to create a unique sonic identity. With a vast discography filled with poignant songwriting and evocative production, Chan is an anomaly in an industry often swayed by trends. Last year, he released two EPs — Time Traveller and The Messenger — that are perfect packs of clear-cut direction, diverse themes, relatable storytelling, cohesive production, and thoughtfully curated collaborations.

‍

‍

Through his music, the Big Masquerade, as he is fondly called, is paving the way for other artists who aspire to tell heartfelt stories, showcase their identity and background in their music, explore their spirituality, and create music that transcends conventional sounds. Beyond releasing genre-bending projects, Chan has also delivered unique live performances. In many of his live performances, he includes traditional backup singers he features on his projects to provide audiences with a fully immersive experience of his music. His stage outfits — makeshift masquerade gowns — portray his intentions to showcase his culture, a central part of his music. Overall, Wizard Chan is proof that Nigerian music is beyond Afrobeats. Through his discography, he demonstrated his deep artistic depth, hinting at the emergence of more unique records. With his debut project on the way, listeners can expect to be taken on a unique sonic journey.

In an article spotlighting artists with unconventional music, Teledalesa’s music also takes a special spot. Her ethereal vocals and infectious storytelling are soothing to the soul. In a world where upbeat music pushes listeners to continuously groove, Teledalesa’s music invites introspection. Her debut project, Anikulapo: Rise of the Spectre — which also serves as the official soundtrack for Kunle Afolayan’s film of the same name — is a masterclass in traditional folk music. Her music is a rejuvenating combination of Yoruba proverbs and traditional percussion, and its didactic nature makes the entire listening experience worthwhile. If there were an award for the best film soundtracks, her performance on her debut album would undoubtedly make it a top contender. Across her discography, she taps her Yoruba heritage to deliver a series of ethereal songs that hold sombre meanings. There’s a very African essence at the core of her music which is both enthralling and greatly entertaining. For any homebred Yoruba native/folk music fans, Teledalase’s songs should take a top spot on their playlist. She delivered her latest project, The Bad Wife has no Tongue with such infectious casualness that also emphasises her talent as a storyteller. Her music is reminiscent of soundtracks of old African folklore. You might not be able to decipher the majority of what she says, still, her music is a treat to the ears and food for the soul.

‍

‍

The cinematic quality of Teledalase’s soundtracks remains one of the most distinct hallmarks of her artistry. Similarly, Celeste Ojatula’s music offers another soul-stirring experience. thanks to its evocative songwriting, immersive storytelling, and authentic delivery. Like Teledalesa, Ojatula is also a folk artist whose music carries an essence of the otherworldly. Ultimately, her music stands out not just because it isn’t Afrobeats but because it connects deeply with listeners, offering a truly transcendental experience. Another artist worthy of recognition is Dotti the Deity. His debut album, Madam Dearest Pt.1 aligns with his previous works, which also explore Folk and Highlife music. Dotti’s vast knowledge of music is on display in this project, as he masterfully blends multiple genres. This mixture of intoxicating sounds transforms the project into one that can easily resonate with listeners from different timelines.

Another soundwave that has dominated soundscapes in recent times is Arewa music. In Northern Nigeria, Arabic instruments and rhythms are central to how local artists entertain their listeners and express their artistic ambitions. Historically, Northern Nigerian artists like Zaki Azzay, Dan Maraya Jos, Maryam Fantimoti, and many others have significantly contributed to Nigerian music, with records that are regarded as some of the finest in Nigeria’s musical history, influencing different records. Recently, there has been a resurgence of Northern music’s influence in the music scene, with artists like FirstKlaz drawing inspiration from Arewa music to release “Gen-Z Arewa.” From the moment the song begins, listeners are greeted by the unmistakable Arewa rhythm, complemented by the voice of one of its singers leading the chorus, while FirstKlaz expertly navigates the song’s distinct production.

‍

‍

As suggested by the title, “Gen-Z Arewa” is a contemporary reinterpretation of Arewa music, blending traditional Northern sounds with modern pop influences. With songs like “Gen-Z Fuji,”  a remix with Terry Apala, and an upcoming project, Firstklaz is steadily building his career with songs that spotlights traditional Nigerian music and is a perfect blend of modernity and traditional. The fusion of traditional sounds and stories by these artists not only preserves Nigeria’s cultural heritage but also challenges the notion that global success can only be achieved through Afrobeats.

It would be impossible to mention a list of artists that constantly release unorthodox music without including Duncan Daniels and Clayrocksu — two Nigerian Rock artists. With their respective projects, Dan Cain: Honesty & Nostalgia and Hate It Here, both artists remind listeners that Nigerian artists can explore diverse genres while retaining their identity and infusing their cultures in songs like “Lele,” “Take Me Higher,” “Amin,” and “Evergreen.” Over electric guitars and commanding vocals, they tackle themes such as love, loss, religion, and affluence, often drawn from their personal experiences, bringing a deep sense of vulnerability to their songs. With records that are raw, authentic, pulsating with emotion, and rich with storytelling, Daniels and Clayrocksu are undoubtedly some of the artists who are creating music that is refreshing and innovative. Through their music, they are contributing to the future of the Nigerian music industry, where Afrobeats won’t be the only defining genre but a part of a larger musical landscape.

‍

‍

Artists like Odeal and Amaeya in the R&B scene whose soulful vocals and hypnotic renditions make their projects Lustropolis, The Summer That Saved Me, and Like a Flower rank high in the album of the year conversations. In Amaeya’s project, she created a world where she bares her emotions, releasing herself from toxic affairs while embracing her full power and blooming freely. The 7-track EP is crafted with introspective lyrics that are elevated with her angelic vocals and tactfully curated melodies. Some of the project’s top tracks include “Too Much,” “Sweet Escape,” and “On My Own.”

‍

‍

Odeal also delivers a remarkable performance on Lustropolis and The Summer That Saved Me, both projects that showcase his infectious vocals. Once anyone gets immersed in his music it is almost impossible not to hear the influences of classic American R&B, especially from artists in the 90s. The influence is evident in the way Odeal delves into his relationship escapades, toxic love affairs, his struggles with fame, and freedom. The Summer That Saved Me particularly captures the sense of freedom and ease with which Odeal approaches his music without taking out the emotional vulnerability that has been constant in his music.

His ability to present different versions of himself in Lustropolis is a key aspect of its brilliance. In “Can’t Stay,” he is an exhausted lover; in “Temptress,” he is a fighter, battling for the love of a stripper; and in “Showbiz,” he opens up about his struggle with the weight of success. These versions unveil small bits of his personality, allowing listeners to connect more with his music. The reflective R&B melodies evident in Odeal and Amaeya’s projects always serve as the perfect cleanser, drawing our attention back to the quieter moments that allow us to address the largely abandoned emotions. These projects highlight Odeal and Amaeya’s ability to deliver enthralling performances, cementing the Nigerian R&B scene as one in capable hands.

For years, Nigerian artiste, Odunsi the Engine, has been acknowledged as one of the forerunners of alté music. True to form, he released one of the unorthodox projects last year tagged Leather Park (Vol.1). On the 15-track project, he assembled an array of other talented artists, Minz, Lola, Bella Shmurda, Jeriq, Cruel Santino, BENO, Lamarre, each contributing their versatile artistry to the project. While their performances alongside Odunsi are memorable, the production quality of the album also stands as one of its defining features. Across all 15 tracks, there’s a brilliant fusion of sounds that makes each record sound refreshingly distinct. For instance, “Resurrect” is a combination of the Igbo ogene instrument, percussion, and synths that enhances the deliveries of the featured artists. With Leather Park (Vol.1), Odunsi continues to broaden the soundscape.

‍

‍

Amidst the crowded Afrobeats space, Braye’s music stands out with its introspective lyrics and acoustic-leaning production. In the pool of this year’s releases his EP, I Wish I Had More Time, makes its mark with its vulnerable storytelling, soothing production that elevates the relatability of his stories, and captivating vocals. One of the standout features of his music aside from it being rare, is how vulnerable and truthful his music sounds. Whether it’s his yearning for a past relationship in “I Wish I Had More Time” and “Bring You Home*,*” it feels as though he sits with his memories to craft songs that could easily belong to someone else, thanks to their relatability and the emotional vulnerability in his lyrics and vocals. This ability to translate personal experiences into universally felt emotions is what makes Braye stand out in a pool of formulaic music.

‍

‍

Ultimately, this diverse array of Nigerian artists shows that the industry can produce music outside the confines of Afrobeats. These artists, spanning folk, Highlife, R&B, rock, and experimental fusions, have embraced the essence of originality by drawing from personal stories, cultural roots, and global influences.

Their music not only diversify the soundscape and set them apart from their peers, but they also contribute to shaping a sound that could influence future generations. These artists will inspire others to infuse their culture and identity into their music.

‍