The Pandemic That Reshaped Nigerian Music

In 2020, as the pandemic brought the world to a standstill, forcing Nigerians into movement restrictions and lockdowns, it was also incubating music talent and creativity that would go on to leave a legacy five years after. In Lagos, Nigeria’s commercial capital, clubs were shut, concerts were getting cancelled, even smaller festivities like weddings and birthday events were either held virtually, on a smaller scale, or postponed indefinitely. Artists were grounded wherever they were when President Buhari announced the first wave of lockdowns. With stage lights off and tours on pause, they took solace in a familiar place: the music studio.

As the second half of the year arrived, the products of this creative hibernation began to emerge, the output staggering in both volume and quality. Wizkid, Davido and Burna Boy all released albums in the four months beginning in November, the only time they have ever released music so closely together. Olamide debuted Carpe Diem, which brought him closer to Afropop and was instrumental in his pivot from Street Pop. His protégé, Fireboy, followed up his acclaimed debut project with Apollo, a sonically progressive piece that showcased his maturing talent. Tiwa Savage arrived with Celia, her third studio project, in August, furnished with her studied messages of love and empowerment. At the top of the ladder, Nigeria’s biggest acts were utilizing a creative interval to consolidate their positions. 

More than these heavyweights, 2020 was critical for the new voices it introduced, the talents that finally discovered time and courage to debut their first projects. At the time, the EP was gaining popularity as the favoured format for a young artist looking to break into the market, and more than a few took advantage of it. Omah Lay’s Get Layd is still lauded as a sublime expression of the singer’s fresh, unfiltered take on sex and relationships. His version of Afropop—a mellowed-out breeze rather than a party-ready vibe—was also well appreciated by an audience that had no parties to vibe at. He rose to fame in 2020 so rapidly that he had to release a follow-up just six months later, expanding the world he had created with four brand-new songs.

It was not only a time for debuting new music but also for music genres. Bella Shmurda pushed Street Pop into more emotionally vulnerable territory on the semi-autobiographical High Tension, while Ruger found his niche in the Dancehall-Afropop fusion on his debut EP, aptly named Pandemic. In every corner of the industry fresh soundscapes were being explored—from The Cavemen debuting their neo-highlife direction in their debut album, Roots, to Chiké’s sublime take on love and companionship from an Igbo Highlife influence on Boo of the Booless, to Basketmouth’s unexpected foray into music via the colourful and authentic soundtrack album, Yabasi, to Fresh L, Boj and Teezee laying a claim to Alté’s parentage via Pioneers. In retrospect, mainstream music never looked as diverse and authentic as it did in 2020. 

Tems, too, seized the solitude of the pandemic to craft For Broken Ears, her debut EP that was recorded without features, produced almost exclusively by herself and released by her self-owned label, The Leading Vibe—an embodiment of a period that forced artists into creative and often secluded niches. It revealed her talent and ear for slower, introspective music, and it was with this résumé that she secured the collaborations that would propel her to the limelight—with Wizkid, Drake, Future and more. At the time, the pandemic was reshaping listener habits, encouraging slower, moodier tracks best enjoyed in solitude. 

As the months passed, the fruits of this labour began to pour in. Wizkid’s Made In Lagos cruised to international acclaim after recovering from an initial lull; his diversion into sophisticated slow-paced Afropop fusion required a little time to absorb. When the accolades came, they came in multiples. Bolstered by its lead single, Essence, Made In Lagos soared to international acclaim, clinching Africa’s first Gold certification in the United States, and securing Wizkid two nominations at both the Grammys. After knocking on the door for the better part of his career, it was Made In Lagos that brought him serious global recognition. Meanwhile, Twice as Tall brought Burna Boy the Grammy win that African Giant had only flirted with.

Lockdown also rewrote the means for discovering new music, and thus, the brand of music more open to discovery. It was a time when TikTok, the short-form video sharing application was accelerating in popularity, and with it came the power for a musician, wherever they were, to reach a global audience through virality. Ckay experienced this phenomenon with Love Nwatiti, as the 2019 release’s rise to fame two years later was strongly bolstered by its TikTok performance—where it has been the soundtrack to over four million videos. The longevity of stars minted via a single viral song remains in doubt, as Ckay’s recent history reflects, but the app inarguably provided artists with opportunities to reach an audience that would otherwise have been impossible. 

For many other artists, what started as a pandemic-era breakthrough became the foundation for lasting careers. Tems has moved on to a dream career, most recently landing a Grammy award for her 2024 single, Love Me Jeje; her second Grammy win in three years. Other members of the 2020 class, like Omah Lay, Bella Shmurda and Ruger, have stood the test of time, largely fulfilling the potential they promised they set at their arrivals. Wizkid and Burna Boy still bask in the highs of their pandemic projects and their landmark achievements, while Basketmouth, Chiké, and The Cavemen continue on their unique sonic paths. Five years later, it’s clear that the pandemic didn’t interrupt the industry; it reshaped it.