There’s this thing that has been happening lately where a new song comes on and you immediately go "wait, I know this"? 

That's been happening a lot in 2025.

I didn’t think much of it at first, but by the third or fourth time it happened, I realized… wait, is everyone suddenly digging into the 2000s again?

It clicked when Adekunle Gold dropped ‘Coco Money’ and Rihanna’s ‘Bitch Better Have My Money’ came through midway with a mad twist. Not a full sample, but the attitude was unmistakable. Then Styl-Plus resurfaced with a new take on ‘Olufunmi’ with Ladipoe, which took me back a couple of years but still felt so fresh. Even globally, Summer Walker built her recent album Finally Over It on the same foundation.

Afrobeats is in this same wave. Take Asake's ‘Active’ with Travis Scott. The track interpolates Jazzman Olofin's 2004 hit ‘Raise Da Roof’, a song that defined Nigerian club culture back then. Now it’s connecting with people who weren’t even born yet.

Ayra Starr is another example. ‘Gimme Dat’ samples Mary J. Blige and Wyclef Jean's ‘911’. Even Rema brought Sade’s ‘Is It a Crime’ into his single “Baby (Is it a crime)”. These aren’t random throwbacks, Artists are reaching for the sounds that shaped them, sounds they grew up with when Nigerian music was still shaping its identity.

And it’s not just Afrobeats. Globally, early-2000s R&B is having a full-blown revival. Summer Walker’s Finally Over It might as well be titled I Miss the 90s. She sampled Beyoncé’s ‘Yes’ on ‘No’, Mariah Carey’s ‘Always Be My Baby’ on ‘Baby’, Bobby Womack on ‘Get Yo Boy’ Roberta Flack and Donny Hathaway on ‘Baller’. She basically built a time machine out of R&B samples. 

Why now? Part of it’s the 20-year nostalgia cycle. Part of it’s the fatigue from the endless chase for “newness.” Part of it’s that clearing samples is easier than it used to be. But more than all that, it’s the power of familiarity. The 2000s weren’t obsessed with perfection; the music was raw and honest. Hearing them reimagined connects millennials…making them feel seen, while introducing the newer generation to a whole catalog they didn't know they needed. 

This is how culture moves. Not by abandoning the past, but by reinterpreting it.

And I don’t think this wave is just nostalgia. It feels like artists reconnecting with the music that raised them. Rema grew up hearing Sade. Asake danced to Jazzman Olofin. Summer Walker probably had Always Be My Baby on repeat in middle school. They’re not exploiting nostalgia, they’re sharing it. Saying, “This shaped me. I want you to hear it too.”

Maybe that’s why these records are landing so hard. People don’t just want new things, they want something that feels like something. And right now, that feeling is coming from the classics.

The 2000s gave us music that lasted. Songs people still know word-for-word. Melodies that still make you stop and feel something. And in 2025, artists are tapping back into that, not because they can't create something new, but because they understand that some foundations are worth building on.

This isn’t just for nostalgia’s sake, It’s respect. It’s a generation saying ‘we see where we came from, and we’re taking it forward.’

What’s your favorite sample or interpolation from 2025? Drop it in the comments 👀

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In an industry where hip-hop is often dismissed as a niche genre in Naija music, Odumodublvck is carving out his own lane, not by trying to fit in, but by creating his own moment yet again. His campus tour, a move that would have been considered unconventional just a few years ago, has caught everyone’s attention.

The thing about Odumodublvck’s approach is that it signals a big shift in how artists are building their brand and reaching their audience. The old playbook, where radio, social media, and TV were the gatekeepers, is slowly being replaced by direct, grassroots engagement.

The Rise of Campus Tours

Odumodublvck is not just touring; he’s creating a new narrative for Naija rap. Traditionally, campus tours were associated with smaller artists looking to build local followings, but what Odumodublvck is doing is revolutionary. He’s targeting university campuses, a space rich with young, passionate, and digitally-active fans who not only want to consume music but connect with their faves directly. These young people are not simply there for the hype, they are eager for authenticity, energy, and a vibe they can relate to.

What Odumodublvck's Campus Tour Says About the Industry Right Now

This is more than just a tour; it’s a cultural statement. By choosing to go this route, he taps into something deeper than streams and charts. He’s tapping into the core of Nigerian youth culture, creating fans who feel personally involved in his journey.

The personal connection that comes with campus tours is something that can’t be easily replicated by simply appearing on an interview or social media trend. It’s an intimate, real-time connection with fans that builds long-term loyalty and Odumodu’s team understands this like MAD .

This approach also shifts the power dynamics of the music industry. By going directly to his audience, he is taking control of his narrative in a way older artists might not have thought possible. This isn’t just about chasing a viral moment, it's about building a loyal, organic community that thrives even without mainstream approval.

Cultural Shift

While some might argue that this isn't a traditional approach, I believe Odumodublvck’s campus tour is the start of something bigger. It shows that young artists no longer need gatekeepers to validate their careers. They can create their own platforms and use direct fan engagement to dominate the conversation.

Conclusion

This begs the question: How many artists will start thinking outside the box and build their careers in non-traditional ways?

If anything, Odumodublvck’s tour tells us one thing, in a digital age where people are obsessed with screens and social media, live connections with your fans are where the real power lies..

Let me know what you think about the tour in the comment section… Don't forget to like and subscribe for moreee takes

“What if the music industry’s definition of success is broken?”

There’s this quiet pressure floating around the music space. If you’re not trending, headlining, or plastered on a billboard, you’re labeled an “underdog” at best, a “failure” at worst. But what if some artists aren’t built for billboards? What if their power lies in staying small, strange, and intentional?

Cult Followings over Mass Appeal

Not every artist is for everyone. They’re built for the ones who really get it. Think Cruel Santino. Does he make “mainstream” music? Not at all. But has he shaped an entire wave? Absolutely. His world isn’t for the casual listener. It’s for fans who want to live in a different universe.

The same goes for Tems, who, even with global fame, never rushed to play the industry game. Her early works like “Try Me” and “The Key” weren't crafted for virality. They were textured and spiritual, far from the usual mainstream music. She didn’t chase the spotlight. It found her, years later.

Beyond Nigeria, artists like Little Simz or Noname have built an audience who listen. Not scroll, not skip. No gimmicks or dance challenges. Just music with depth and an audience that respects them for it.

The Industry's Blind spot

The industry speaks in numbers: streams, followers, playlist placements. Anything that can be charted or tracked. If you don't hit 100k streams, you're deemed “not serious” or worse.

But the algorithm isn't a music fan. It doesn't understand intention, only performance. So what happens to artists who value storytelling over trendiness? Mood over moments?

They get ignored. Or worse, they get told to “rebrand.”

We Don’t Let Artists Breathe Anymore

Part of this problem is the constant spotlight. Artists are expected to be consistent, visible and ready for anything. There’s no room to evolve publicly. No “figuring it out” phases. You’re either blowing or invisible.

But growth isn't loud. Some artists need years in the shadows to experiment, fail, and refine their craft. But the industry’s 24/7 content grind doesn't really care. Their work might not trend today but could redefine the culture in five years’ time.

Let the Quiet Ones Build

The real failure isn't in an artist avoiding the spotlight. It’s in forcing artists who are introverts to be extroverted. Forcing them to do interviews when they’d rather be in the studio. Telling them to post more, tweet more, do more, when their art should be enough.

We need to leave room in the culture for different kinds of success. Artists who care less about the spotlight and more about what their music feels like in headphones, late at night.

Everyone wants a core fanbase, But not everyone has to be a trending topic..

Finally

Let some artists just exist. Let them make art without feeling like they’ve failed for not being mainstream. There’s power in that freedom. Because not everyone is meant to shine upfront. Some people are here to shift the culture from the background and sometimes, that’s even louder.

So, Who’s your favorite “quiet” artist that the world needs to hear? Let's curate a playlist together 😊

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Nigeria is shifting. Somewhere between Afrobeats and amapiano remixes, a new wave of alté kids are making their mark. They are unbothered, creative, and way too cool for mainstream mindset.

But let’s be real… is this an actual movement or just another "we outside" moment that’ll fizzle out?

Let’s talk.

The Rise of Alté: A Sound, Statement or both?

First off, Alté isn't new.

The movement has been here since DRB LasGidi, Odunsi, Lady Donli, and of course, Santi (Cruel Santino) stepped in with genre-bending sounds and aesthetics.

But the difference between then and now? Today’s alté is louder, prouder, and unafraid to challenge mainstream Afrobeats.

So, what makes it “alté”?

• It’s sound-blending: Afro-fusion, soft rock, psychedelic R&B, soul, even house music.

• It’s anti-mainstream: they’re not trying to make club bangers, but somehow you still vibe.

• It’s DIY culture: no heavy label influence, just artists building worlds on their terms.

As @ajebutter22 tweeted:

“Alté is literally alternative i.e not mainstream and that’s ok. Some people are not trying to be different, they just are and that’s not a crime.”

Think Odunsi, BOJ, or Bloody Civilian; artists who would rather drop a soulful album or EP than a Tiktok single.

But… Can this movement actually last, or is it just another cool “era” that’ll fade?

Why Alté might outlive the Hype:

1. Gen Z Craves Freedom

Streaming killed the gatekeepers. You don't need radio play anymore, just a niche audience that fucks with you.

Alté thrives on authenticity, and Gen Z values that more than anything.

2. Afrobeats is getting saturated

The Afrobeats formula works but let’s be real, everything is starting to sound the same and people are getting tired.

listeners crave something different from the usual “gbedu”, and alté feeds that hunger.

3. Fashion & Culture are Evolving

Alté is not just music, it’s a lifestyle.

Thrift culture is massive now. Alté kids aren't waiting for big designers, they’re making their own fashion statements.

The “weird fits” people laughed at years ago are now seen as cool.

Skate culture, tattoos, piercings? More people are embracing self-expression in ways that used to be side-eyed or condemned.

Why Alté Might Struggle to Stay Mainstream

1. Nigerians have a “HIT” addiction

For every person vibing to Santi’s “Final Champion”, there are like 100 people screaming for "Oblee” at a party.

Nigeria thrives on bangers, and gbedu which isn't really Alte’s style.

2. Labels don't really fund “weird”

Label owners would rather push radio-friendly Afrobeats than fund trippy alté fusion music.

So, can the movement survive purely on niche fan support?

3. Is It Still “Alternative” If Everyone’s Doing It?

Alté started as a counterculture movement, a rebellion.

But now that everyone wants in, does it lose its essence?

Phase or Future?

Alté won't replace Afrobeats, but it is expanding what Nigerian music can be.

The real question is: Can it evolve without losing its core?

Yes, if..

- Fans move beyond streams to buying merch, concert tickets, and crowdfunded projects.

- If more spaces, communities, and platforms support the culture.

- Artists ignore the “When are you blowing?”

pressure and stay proudly niche.

No, if..

- We keep waiting for foreign validation. (Remember, Tems was “too alternative” until she went global.)

- People cosplay as alté without actually knowing how deep it goes.

Final Thoughts

Alté isn’t just about music, it’s Gen Z’s middle finger to being put in a box or limited to one version.

From music to fashion to lifestyle, this new wave is pushing for self-expression on their own terms.

Will it last? It depends on whether people keep pushing the culture or if it just turns into another aesthetic trend.

My Hot Take : Alté will outlive the hype (the same way Afrobeats did) but only if we stop gatekeeping it as “not the usual Naija music”.

What do you think? Is Alté here to stay or just a passing trend?

And who's your fav Alté artist??😁

I MISSED INTERNATIONAL WOMEN’S DAY… BUT HERE’S WHY WE SHOULD TALK ABOUT WOMEN IN MUSIC EVERY DAY

International Women’s Day came and went. As usual, timelines were flooded with pink branded “Happy Women’s Day” posts, a few more “Women in Music” playlists dropped and hashtags trended. Very Cute.

But here’s the deal: the conversation around women in music (artist, producer, execs) shouldn’t be limited to a single day of hypes and performances.

As tems said: “They breadcrumb you because they live on breadcrumbs… You’ve become addicted to breadcrumbs.”

Women constantly face an industry that judges them on everything but their music; their outfits, their looks, how well they "play the game”. Yet they’re still out here fighting for the visibility, respect, and opportunities they’ve always deserved.

So, let’s talk.

The Numbers Don’t Lie, And They’re Not Pretty

Every year, we hear about how the industry is “making progress” or being more “inclusive” but the stats still tell a different story.

A USC Annenberg study found women make up just 30% of artists, 14% of songwriters, and a depressing 4% of producers on top-charting songs.

And in Naija? It's literally worse.

The industry is still heavily male-dominated, and while women are breaking barriers, they’re doing it in an environment that constantly tests them in ways men will never experience.

In an interview with Korty EO, Tems spoke on the realities of being a female artist… and revealed that she wears baggy clothes to the studio so people focus on her music, not her body. Imagine having to downplay your style, just to be seen as a “professional” in a room full of men.

And Tems isn’t alone. Women in music are forced to think about things that men never have to; their appearance, how they move, and whether their success will be credited to their talent or to a male co-sign.

The Double Standards Are LOUD

-A male artist wears something chaotic? “He’s iconic.”

A female artist wears something chaotic? “She’s trying too hard”. In fact let’s flip it, and if she shows skin, suddenly the conversations become about her body and not her music.

-A male artist drops a club banger about money and sex? It’s a banger.

A female artist does the same? Suddenly, it’s “she’s not serious” or “she should sing about deeper things like love”.

-A male artist takes a break? “He’s rebranding.”

A female artist takes a break? “She fell off.”

-A male artist is assertive? “Boss.”

A female artist is assertive? "difficult to work with.”

Women work twice as hard for half the credit. And when they win? They’re asked, “What’s it like being a female artist?” as if their gender is a genre🤦‍♀️.

The Erasure of Women’s Contributions in Music

Women have pushed music forward for decades, yet their impact is often not mentioned or downplayed. In Afrobeats, the legends are almost always men (am I lying?). But where’s the love for artists like Onyeka Onwenu, Asa, Lijadu Sisters?

Even globally, you’ll hear names like Michael Jackson and Prince being referenced as music pioneers, but where’s the same energy for Missy Elliott or Janet Jackson, women who redefined their genres?

History forgets women unless we scream their names.

Women Are Running Things( even if the Industry Won’t admit it)

Even with the gender barrier, women in music are thriving.

‼️Tems isn't just Wizkid’s feature, she’s a Grammy-winning songwriter for Beyonce and Rihanna and is the only Nigerian artist with an Oscars. Purr💋

‼️Ayra Starr is the first African female artist to win the Best International Act at the 2025 MOBO Awards, and also the first woman in 16 years to win the Best African Music Act.

‼️ Bloody Civilian co-produced “Wake up” which was for the Marvel film "Black Panther: Wakanda Forever".

‼️ Behind the scenes, Rima Tahini, Jada P, and Stephanie Okocha are shaping the sound of Nigeria’s biggest stars.

Women aren’t just part of the conversation, I can say for a fact that they are taking charge and leading it.

What Needs to Change?

If we really want to support women in music, it has to go beyond all these International Women’s Day posts.

Give them the same opportunities as men, no more excuses, all that emotional crap.

Stop the lazy comparisons, women are allowed to exist as individuals, not just as “the female version” of some male.

Credit their work properly, producers, songwriters, engineers. Women are in every part of the industry, and their contributions deserve to be recognized.

Support beyond streaming, buy tickets, show up at their shows, and scream their music like you do for the men.

This Conversation Doesn’t Expire

Women in music shouldn't come up like it's a trend or something. Their impact is daily, their talent is undeniable, and their presence in the industry is a necessity.

So yeah, I missed International Women’s Day but I won’t miss the chance to talk about women in music every other day of the year. And neither should you.

PS: This piece was first published on Medium, but I’m moving my writings here to create a space for deeper convos on music & culture. Stick around, there's more to come 💋

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I’ve always been obsessed with music, how it moves people, connects people, and defines eras. But until now, I never thought of writing about it or putting my thoughts down until my close friend and I argued about how Nigerian artists were becoming "sellouts", Lord knows I argued like mad and even went to my Chatgpt to vent. Turns out, I love writing (or at least typing furious paragraphs at 2 a.m lol).

‎I’ve spent so much time debating music and culture with friends, unpacking how artists like Asake evolved with their sounds and appearances, how trends shift on Tiktok and social media at large, and how the new things always seem to shake the old up.. I realized there’s so much to explore beyond the surface. These messy conversations are where the real fun is, not in the streaming numbers or big critic reviews but in the chaos of everyone’s opinions.

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‎So I figured, why not put these thoughts into words? No experience, nothing at all, just a girl with her notes app, hot takes and cold coke lol...

‎This is me taking that bold step.

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‎I’ll be writing about music, culture, and everything in between. No rules, no boxes, just my unfiltered (okay, maybe slightly filtered lol) and chaotic thoughts and opinions. So if you like a little chaos like me, expect takes like:

‎"Odumodublvck is redefining Nigerian rap. Why are we sleeping on him?"

‎"Rema is what full creative freedom looks like ".

‎"Music fans don’t actually want artists to evolve. They want nostalgia on repeat‎".

‎"Portable might just be the realest artist in Nigeria, and y’all are scared to admit it‎".

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‎If you’ve ever argued about Wizkid vs Davido with your friends or wondered who decided what “Afrobeats music” should sound like, stick around and hit that follow and subscribe button .. XO💋

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