Key Attributes of Afrobeats
Themes
Individuality and Self-Expression
Non-conformity and Rebellion
Youth Culture and Lifestyle
Love, Relationships, and Introspection
Mental Health and Vulnerability
Nostalgia (especially for 90s/2000s aesthetics)
Musical Features
Genre-fluidity
Atmospheric
Mellow, synth-heavy soundscapes
Relaxed, emotive, and often melancholic vocal delivery
Instruments
Synthesizers
Drum Machine
Electric Guitar (often with dreamy/reverb effects)
Mellow Basslines
Keyboards/Electric Piano
TeeZee
Artist, DRB LasGidi & Co-founder of NATIVE Magazine
The very name “Alté” is a testament to its core philosophy: providing an alternative. The term was popularized by the pioneering collective DRB LasGidi and first etched into the public consciousness in BOJ’s 2014 track “Paper,” where he sang, “The ladies like me because I’m an alté guy.” It became the banner for a burgeoning subculture in Lagos, Nigeria, that defined itself against the polished, high-energy sound of mainstream Afrobeats. It represents a fusion of not just music, but also fashion, visual arts, and a distinct state of mind.
“4EVER” – Cruel Santino
Context and History
The story of Alté is one of digital-age creativity, subcultural identity, and a quiet rebellion against the monoculture of mainstream Nigerian pop. Its origins can be traced to the late 2000s and early 2010s, with a generation of young, internet-savvy Nigerians who were exposed to a global sonic palette via platforms like SoundCloud and Tumblr. This movement was less a planned genre and more a convergence of like-minded individuals seeking to express a different, more personal Nigerian reality.
The 2010s: The Genesis and SoundCloud Era
The seeds of Alté were planted by collectives like DRB LasGidi (comprising TeeZee, BOJ, and Fresh L.) and Show Dem Camp. They began merging sounds from hip-hop, R&B, and indie pop with Nigerian sensibilities, creating a sound that was smoother, more introspective, and stylistically different from the dominant Afrobeats of the time. This was a movement born online and in the diaspora, with many of its early proponents having spent time in the UK or the US, bringing back a diverse range of influences.
The mid-2010s marked the true emergence of the Alté scene as a recognizable movement. Artists like Odunsi (The Engine), Cruel Santino (formerly Santi, and before that, Ozzy B), and Lady Donli became the flag-bearers of this “second wave.” They leveraged SoundCloud as a primary distribution channel, bypassing traditional industry gatekeepers and building a dedicated following organically. Their sound was characterized by a DIY ethos, genre-blending, and a heavy focus on aesthetics—often drawing inspiration from ’90s Nollywood, vintage fashion, and skate culture. Tracks like Santi’s “Gangsta Fear” and Odunsi’s “alté cruise” became anthems for a generation that felt unseen by the mainstream. As The NATIVE Magazine, a key chronicler of the movement, puts it, this era was about creating a space for authenticity.
Iko Africa
Analysis on the Alté Movement
The visual identity of Alté became just as important as the music. Music videos were often lo-fi, cinematic, and deeply stylistic, creating a whole universe around the sound. This holistic approach to art is what separated Alté from being just another music genre.
The Present: Influence and Mainstream Crossover
Today, Alté is no longer a strictly underground phenomenon. While it maintains its distinct identity, its influence has permeated the mainstream. The lines have begun to blur, with major Afrobeats stars incorporating Alté aesthetics and sounds into their work. The global success of Tems, an artist with deep roots in the Alté scene, stands as a monumental testament to the movement’s crossover potential. Her 2023 Grammy win and Oscar nomination signaled a new level of international recognition for the alternative sound she helped shape.
In an interview with The Guardian, Odunsi (The Engine) spoke to the core of the movement’s philosophy of freedom:
Newer artists like Ayra Starr, Victony, Lojay, and Amaarae continue to push the boundaries, blending Alté sensibilities with pop appeal. The genre has become a crucial engine of innovation for Nigerian music, proving that there is a global audience for diverse sounds from Africa. It functions as the R&D department for Afrobeats, constantly introducing new ideas, flows, and styles that get absorbed into the wider culture. The Recording Academy’s 2023 decision to include Alté as an eligible genre for the Best African Music Performance GRAMMY Award further solidifies its legitimacy and staying power on the world stage.
Musical Features / Performance Style
The Alté performance style is more about cultivating a “vibe” than delivering high-energy, choreographed routines. It is understated, cool, and heavily reliant on aesthetics. Live shows and music videos are curated experiences, often featuring moody lighting, artistic projections, and fashion that is central to the performance. The music is defined by its hybridity. It avoids rigid structures, favoring atmospheric production, mellow chords, and genre fusions that prioritize emotion and introspection over pure danceability. Vocals are often laid-back, sometimes melancholic, and deeply personal, creating an intimate connection with the listener.
Lyrics
Alté lyrics are a departure from the celebratory and aspirational themes common in mainstream Afrobeats. They are typically introspective, exploring personal narratives, love, heartbreak, mental health, and the complexities of navigating life as a young creative. The language is predominantly English and Pidgin, woven with slang that reflects its youthful, subcultural origins. The songwriting is often poetic and vulnerable, valuing authenticity and emotional honesty above crafting a simple, catchy hook.
DRB LasGidi
Odunsi (The Engine)
Cruel Santino (fka Santi)
Lady Donli
Ajebutter22
Wavy the Creator
Tay Iwar
Amaarae
Show Dem Camp
The future of Alté is one of continued influence and evolution. Having successfully moved from a niche subculture to a powerful force of innovation, its ethos of experimentation is now deeply embedded in the DNA of modern African music. The artists who pioneered the movement are now established figures, while a new generation is taking the sound in fresh directions, ensuring its relevance. The global success of Tems has opened doors and demonstrated that commercial success does not require compromising on an alternative sound. Artists like Amaarae, with her distinct blend of Alté and global pop, and rising stars who seamlessly fuse different genres, are carrying the torch. Alté will likely continue to function as the avant-garde of West African music, influencing the mainstream and challenging conventions. It has proven that “alternative” is not a fleeting trend but a sustainable and vital part of the continent’s cultural and musical landscape, with a future that promises even more sonic diversity and global reach.
Bibliography
“‘The Alté scene is a revolution’: inside Nigeria’s new musical underground.” The Guardian. Authored by Lanre Bakare. September 13, 2018.
“A style of music, a fashion statement, a way of life: How Alté is transforming Nigerian youth culture.” CNN. Authored by Tom Bouchier-Hayes. November 22, 2019.
“Alté, A new wave of sound.” Iko Africa. August 24, 2021.
“Grammys Add 3 New Categories: Best African Music Performance, Best Alternative Jazz Album & Best Pop Dance Recording.” Recording Academy. June 13, 2023.
“Here Are the 2023 Grammy Awards Winners: Full List.” Billboard. February 5, 2023.
“Here Are All the 2023 Oscar Nominees.” Billboard. Authored by Hilary Lewis, Kimberly Nordyke. January 24, 2023.
“Paper.” Single. Performed by BOJ. 2014.
“The NATIVE Magazine.” Media Platform. Founded by Seni Saraki and TeeZee. 2016.
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