The Resurgence of the Alté Scene in Ghana and Nigeria: A New Wave of African Expression

    Ghana-Nigeria collaborations within the Alté scene are becoming increasingly significant, with artists from both countries finding common ground in their experimental spirit and shared desire to break from tradition. A standout example is the recently released remix of *WICKED* by Ghana’s SuperJazzClub, featuring Nigerian Alté pioneer Cruel Santino. This collaboration bridges two distinct yet complementary creative worlds: SuperJazzClub's cinematic, eclectic sound and Santino's genre-bending chaos and bold storytelling. The remix doesn’t just add a Nigerian voice to a Ghanaian record; it deepens the song’s texture, adding new layers of energy and surrealism. It’s a moment that reflects the broader cultural synergy between Accra and Lagos, where Alté artists are no longer working in silos but building a transnational, pan-African creative language that challenges what African music can sound and feel like.

    Alté (short for “alternative”) first emerged from Lagos in the mid-2010s. Coined by DRB LasGidi members Teezee and BOJ in 2014, the sound has been defined over the years by young artists like Tems, SDC (Show Dem Camp), Odunsi (The Engine), Santi (now Cruel Santino), and Lady Donli, creating something different from the mainstream Afrobeats sound. Beyond just experimenting with sound, they built a lifestyle and a rebellion. Their music borrowed from R&B, funk, punk, soul, electronic, and hip hop, all while remaining rooted in their Nigerian identity. At the same time, their styles were edgy, nostalgic, and layered with cultural references from Nollywood, Tumblr, and Black skate culture. They challenged what it meant to “look African.”

    Ghana, too, had its quiet rebels. Artists like Worlasi, Amaarae, and Ria Boss were pushing boundaries musically and visually, but they often did so without the structure or spotlight that Nigeria’s scene enjoyed. What we’re witnessing now, especially in 2024 and 2025, is a regional resurgence, with both countries moving in parallel, and sometimes together, to redefine the creative landscape.

Where did Alté go?

    Despite its bold entrance and cult following, the Alté movement lost momentum in the early 2020s due to a mix of internal and external pressures. As the mainstream Afrobeats scene surged globally, many Alté artists struggled to find sustainable platforms, funding, and media support to match their ambitions. The movement’s DIY nature, while artistically liberating, often meant limited access to infrastructure and performance opportunities. Some early Alté acts who crossed into mainstream success were pressured to conform to more commercial sounds, diluting the experimental edge that defined the genre. Additionally, the scene became associated with elitism and inaccessibility, particularly as its visual aesthetic and sound grew more niche. For many, Alté began to feel more like a clique than a movement. This period of stagnation forced a reevaluation, and the current resurgence reflects a deeper commitment to community, intentionality, and redefining Alté as a space for genuine innovation and expression across class, gender, and national borders.

Why Is Alté Coming Back Now?

Over the past few years, the Alté scene in West Africa has come alive again, louder, sharper, and more confident than ever before. Once considered a fringe movement, Alté is now stepping fully into its own in both Nigeria and Ghana, reclaiming space in music, fashion, and youth culture. Several factors have led to this new wave of energy around the Alté scene. For one, audiences are growing tired of repetition. While Afrobeats and Amapiano dominate global charts, listeners (especially younger, urban Africans) are looking for something more personal, more introspective, and more boundary-pushing; Alté fills that gap. 

    Secondly, social media and streaming platforms have removed a lot of the old barriers to entry. You no longer need a record deal or radio play to build an audience. You just need a strong sense of self, a phone, and a little courage. Platforms like TikTok, SoundCloud, Audiomack, and YouTube have allowed Alté artists to find their people across continents. Artists like Moliy, Somadina, Cruel Santino, and even genre-blending stars like Tems are living proof of this shift. 

    And then there’s the cultural climate. Young Africans today are more connected to the rest of the world than ever before, but they’re also more eager to claim their own identities. Alté speaks to that tension between local and global, tradition and rebellion, expectation and self-definition.

Ghana’s Growing Role

    While Nigeria has always had a strong foothold in Alté culture, Ghana is becoming a vital part of the movement’s next chapter. The scene in Accra has found its footing, and it’s standing tall. Collectives like SuperJazzClub and 99PHACES, creative hubs like Front/Back and Vibrate Space, and artists like Amaarae, Ria Boss, and Yung D3mz are building a sound, community, and aesthetic that is thoughtful, polished, and bold in its experimentation. 

    Unlike the Nigerian Alté scene, which leans more into experimental chaos and playfulness, Ghana’s wave feels more psychedelic and reflective. There’s a softness to it, but it’s deliberate. It’s poetic, fluid, and deeply rooted in storytelling. You can hear the jazz, the soul, the indie, but you can also feel the weight of history and imagination. Ghanaian artists aren’t trying to replicate what’s already been done. They’re building something that feels uniquely theirs.

Crossing The Border

    Ghana-Nigeria collaborations within the Alté scene are becoming increasingly significant, with artists from both countries finding common ground in their experimental spirit and shared desire to break from tradition. A standout example is the recently released remix of 'WICKED' by Ghana’s SuperJazzClub, featuring Nigerian Alté pioneer Cruel Santino. This collaboration bridges two distinct yet complementary creative worlds; SuperJazzClub's cinematic, jazz-infused sound meets Santino's genre-bending chaos and bold storytelling. The remix doesn’t just add a Nigerian voice to a Ghanaian record; it deepens the song’s texture, adding new layers of energy and surrealism. It’s a moment that reflects the broader cultural synergy between Accra and Lagos, where Alté artists are no longer working in silos but building a transnational, pan-African creative language that challenges what African music can sound and feel like.

   

 SuperJazzClub encapsulates the creative exploration of identity and non-conformity in their approach to culture and sound. The collective, formed in 2018, comprises nine creatives spanning various art forms: cinematography, fashion, DJing, music performance, and production. The official music video of the Wicked remix featuring Cruel Santino captures the cross-cultural and cross-genre celebrations, going beyond sound to create a visual and storytelling beauty. The song itself reiterates the themes of rebellion and poise, with a bold contrast of both vibrant and monochromatic scenes drawing you into their world. Øbed, the producer,  revealed the spontaneity of the development of the original track, which was made and recorded in 10 minutes. Now the lead single of their forthcoming deluxe edition of Monochrome Radio EP, it’s a firm reminder of how authenticity and openness are everything Alté is.

Final Words

    Alté, beyond the sound, is a glaring refusal to be boxed in. In both Ghana and Nigeria, what started as an alternative to the mainstream is becoming a movement of its own, rooted in a celebration of differences and authenticity. And more people are finally ready for something real.

Alté is back, but it’s not the same. It’s smarter, sharper, and braver. And this time, it’s here to stay.

References

            CJ, N. (2021, October 29). Origins of the Alté movement and how it birthed a generation of young Nigerians.Teen Vogue.

            Face. (2021, January 14). DRB LasGidi: “Altê’s not a genre, it’s not a type of music, it’s just being different.". The Face.