The internationally mapped successes of Wizkid, Davido, Yemi Alade and a host of others over the past few months has opened new landmarks for African music. Somewhere in the background of celebration of their achievements, bets are being edged on a slew of young new underdogs who have been touted as the next generation of Afropop thought leaders.

Odunsi
Nonso Amadi
Not3s
Pepenazi
Funbi
Poe
Shizzo
Tay#NuSchool x good music .. Thank you

Y'all are Bursting my speakers ?

— Dotuncoolfm (@iamDo2dtun) April 27, 2017

Earlier last week, Cool FM, OAP, DO2DTUN one of the most influential figures of the culture tweeted above list of ‘Nu School’ artists who make good music. Co-signs in Nigeria are often easily dismissed but debatable listing of brother Pepenazi aside, was DO2DTUN’s list reflective of a new crop of acts who are pushing the boundaries for genre and sound evolution.

Of the eight names mentioned, Odunsi, Nonso Amadi and Tay Iwar, are perhaps the most important stand outs. Poe and Funbi are no doubt also active parts of the progressive culture, but these three are millennial singers who first creased playlists by releasing and promoting music solely off social media. Over the past few months, major leaps like Odunsi topping Spotify charts, Nonso Amadi getting an Apple Beats1 interview and more recently, Tay Iwar performing at Gidifest and opening for Asa, have indicated growing affiliation of the mainstream culture. This particularly brings to mind the success of new generation post-Label artists like Chance The Rapper whose charted success has been largely based off organic fan support built off the internet.

This is a big deal for the future of Nigerian music

Nigeria has one of the most sought after soundscapes in the world, however the illegal PAYOLA format for radio play often cripples the ability of independent artists to push their music to all the right corners. Often talented artists are left at the mercy of a label deal for a big break because radio airplay doesn’t come cheap. But thanks to the internet, artists can go full DIY with their production and distribution without worrying too much about radio placements and recognition. This is not to discredit the role of radio in sound curation, however it reverses the top-to-bottom flow of how radio determines what people listen to.

No one ever probably expected that a day would come when radio would lose its monopoly over mass audience. If DO2DTUN’s co-sign proves anything, it may be sign even our so-called culture shapers are coming to terms with their own mortality in an increasingly liberalised digital world.

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