Earlier in the year, Nigerian music X (formerly Twitter) was rocked with conversations regarding the utility of the Amapiano sound. At the time, the audience appeared to have had enough of the sound and required something fresh. The consensus was that the South African music genre had run its course and Nigerian artists needed to let it go. Fast forward a couple of months later, and Amapiano is still here and thriving. The log drums are still being utilised in songs and still provoke audience reactions at events. Nigerian artists have continued releasing log drum-propelled records, and the audience has well received these records. However, those complaints and conversations around the excessive use of Amapiano have cooled down.
At the time of this writing, only three Amapiano songs—Rema’s Benin Boys, Asake’s Wave and Burna Boy’s version of Tshwala Bam—occupy spots in the top 10 of the Turntable official Nigerian Top 100. This may suggest that Amapiano’s sway in the mainstream may be dwindling. However, the number of Amapiano-driven releases has remained consistently high, indicating that the genre still holds a significant place in the music industry and continues to influence new music.
The question remains:
- What is the secret to Amapiano’s remarkable power in Nigerian music?
- What factors have contributed to its enduring presence and continued influence on the industry?
- Most importantly, will this influence wane? Or is Amapiano here to stay?
Is Amapiano taking over in Nigeria?
This writer firmly believes Amapiano has established a strong and possibly unbreakable cultural connection with Nigerian culture, most especially the Nigerian youths, whose almost insatiable quest for escapism has connected with its vibrant and energetic vibe.
This explains the loyal following the sound has built, especially in the Nigerian club and dance circuit. Amapiano’s unique blend of Deep House, Gqom, and Afrobeats elements appeals to a lot of Nigerian partygoers looking for excitement. When you combine that with its infectious drum patterns and basslines, you have the perfect recipe to get people moving and dancing, making the sound a perfect fit for the dance floor. Nigerian DJs have embraced the sound, integrating it into their sets and even going a step further by curating sets made entirely on Amapiano records. Over time, the genre has slowly replaced original Nigerian pop and dance records, with some—if not most—DJs opting to spin only Amapiano records as it is guaranteed to get the audience going.
Amapiano’s assertive incursion into the Nigerian dance circuit propelled the rise of ‘Afro-hype’, a sub-genre of Afropop built entirely on Amapiano and lamba. The subgenre was defined by Nigerian hypeman and A&R, Sheye Banks, who also played a prominent role in its soaring popularity. This new sub-genre has given creatives another way to showcase and express their creativity as ‘Hypemen/Hypewomen’, while also creating a new avenue for them to make money.
It is this cultural connection Amapiano has established with the Nigerian audience that explains the consistent evolution, creative exploration, and localisation of the sound by Nigerian artists. Seyi Vibez, Asake, Kcee, Kolaboy, and Shallipopi have found ways to incorporate different Nigerian styles and influences into Amapiano to make it fresh and exciting. Asake’s reinvention of Fuji music with contemporary Afropop elements driven by Amapiano kicked off an unprecedented scorching hot run that produced six smash-hit records within the first seven months of his mainstream run. He would replicate the same formula on his sophomore album, Work of Art, and early indications suggest he would do the same on his forthcoming album. Seyi Vibez’s euphoric blend of Apala music and Amapiano launched him from a niche street hop artist to one of the hottest Nigerian artists in the last 18 months. Shallipopi’s exploration of the Benin culture using the South African music genre made him the most dominant force in Nigerian music in 2023, and Kcee scored a career-extending megahit record with Ojapiano.
A close look at most of the Amapiano-driven records released after February 2024 (which was when the conversations around the overexploitation of Amapiano peaked) would reveal that there has been minimal innovation and experimentation of the sound with artists relying heavily on a tested-and-trusted template and reproducing a familiar sound. Case in point: Shallipopi’s underwhelming sophomore album Shakespopi, which was released in April 2024, and ZerryDL’s horrendous attempt at an EP a month later. Regardless, Amapiano-driven records continue to be presented to the Nigerian audience for consumption at a significantly high volume.
Will this influence fade, or is Amapiano here to stay?
Amapiano’s has been the dominant sound in the Nigerian mainstream since 2021. While it seemed like the sound had run its course, Nigerian artists are holding tight to the genre, and the massive fan base is equally reluctant to let it go.
This writer believes Amapiano is here to stay. The South African has become an integral part of the Nigerian music landscape. In his opinion, Amapiano is now more than a sound we imported from South Africa; Amapiano is now a part of Nigerian music and pop culture. And this writer believes it will remain that way longer than expected.
He is not ignorant of the fact that Nigerian music is in a state of constant evolution. Amapiano’s stay in Nigerian music may be over in an instant. However, when you consider the fact that most of the factors that contribute to the decline of a sound have happened or are happening, and the genre is still here, it does make you wonder if it will ever leave.
Over-saturation is one of the biggest factors that contribute to the decline of a genre, especially when said genre is an imported one. Since 2021, the Nigerian audience has been treated to high volumes of Amapiano-driven releases every weekend. Not only has the audience been treated to a high volume of Amapiano-shaped songs, but Nigerian artists have also abused the sound in different shapes and forms, delivering lazy records sorely lacking any sort of creative effort and innovation. Case in point: Carter Efe’s Babypiano and Shallipopi’s High Tension. Despite this, the South African music genre continues to influence new music. Even though listeners have at several points demanded something new and different, they remain stubbornly hooked on the sound.
Even the resurgence of indigenous Nigerian music sounds like Fuji, Apala, Highlife, and Ogene has still not shifted the attention of the mainstream from Amapiano, even though songs shaped by these indigenous sounds have recently enjoyed commercial success. Successful creative exploration of these sounds should organically lead to a progression away from Amapiano, but so far, that has not been the case.
When you consider these factors as well as Amapiano’s growing success on the international scene, a compelling argument is made for Amapiano’s long-term relevance in Nigerian music. The success of South African acts like Tyla and Uncle Waffles—who became the first Amapiano DJ to play at the Coachella festival—is legitimising Amapiano as a global phenomenon. This increased exposure will introduce the sound to new audiences and solidify the genre’s reputation. As international stars continue embracing the sound—like Chris Brown has with his latest record, HMMM featuring Davido—and making it more acceptable and desirable across the world, its burgeoning international success will have a ripple effect, further reinforcing its presence in Nigerian music.
This is not to say that the sound will forever be the dominant sound in the Nigerian music landscape. At some point, a new sound will emerge, and the South African music genre’s dominance will be challenged. Its influence may eventually wane, and the grip it has on Nigerian music will eventually loosen. The acceptance of Rema’s new album HEIS shows that the mainstream is indeed awaiting Amapiano’s successor. While the soundscape waits until Rema presents a proper execution of his vision and the polished and refined outcome of his experiment, which may eventually be the next sonic expedition Afrobeats embarks on, Amapiano will continue to influence new music. And even when Rema or anybody else presents the next leading mainstream sound, this writer believes Amapiano will still be here.
