CREATIVE CURRENTS WITH QUADRI MORIN (QUADMOR)
ISSUE 7.0  Feb. 2026
Interview Conducted By Olulana Mofiyinfoluwa
Designed by Chiagozie Mbuba


ORIGIN & CREATIVE IDENTITY 
Q. In a world where noise often overshadows intention, you choose focus. What influences the stories you tell visually? 
A. My visual stories are influenced by real-life experiences and moments of quiet reflection; the internal conversations people rarely express but constantly live with. I have experienced and observed the tension between who we are expected to be and who we are becoming. Decluttering has also become my way of resetting, so visually I am always asking; what truly matters here, and what can be stripped away without losing meaning? 

Q. How would you describe your creative journey so far, and what experiences have shaped your voice as a digital artist? 
A. My creative journey started as a form of expression for my inner dialogues. These dialogues push me to listen deeply and observe behaviors and patterns around me, while trying to understand the context behind them. Over time, art became the space where I could explore these questions without needing clear answers. Living and working across different creative disciplines has also helped shape a voice that is both reflective and intentional. 



RESTACKING THE ODDS – THE CONCEPT 
Q. Why was this the right time to tell this story through an exhibition? 
A. Honestly, the right time to start this conversation was many years ago. But for this exhibition, it felt right because I realized that self-empowerment is not something that is done and dusted; it is something we return to every day. I wanted people to recognize and appreciate that reality in their own lives. Many people are silently renegotiating their lives; redefining success, healing from setbacks, and questioning narratives they once accepted. My exhibition allows for pause. Unlike fast digital consumption, it invites people to stand with discomfort and possibility. Restacking The Odds needed physical space because the conversation it starts is internal, slow, and reflective. 

Q. What emotional or psychological states were you exploring while creating these pieces? 
A. I was exploring uncertainty, self-doubt, and quiet determination. There was a recurring tension between exhaustion and hope; between destinations and starting points. Many of the pieces emerged from moments where I felt stuck, yet aware that staying still was also a choice. Psychologically, the work reflects the process of reframing situations as motivation rather than failure.
 
Q. Walk us through your creative process; from idea to final piece.
A. The process usually begins visually. Emotions create a mental image in my head, and I reflect on the question that image might be answering. I sketch loosely and sit with the idea until it fully forms. From there, I experiment visually with characters, line work, and color. The final stage is about restraint; knowing when to stop, when the piece has said enough without over-explaining itself. 

SELF-EMPOWERMENT & RESILIENCE 
Q. Have you had moments where you had to “restack the odds” in your own life? 
A. Oh yes, many times; often in subtle ways rather than dramatic ones. Restacking the odds has meant choosing what I believe in over what I was taught to believe, redefining success on my own terms, and continuing to show up creatively even when outcomes were uncertain. It is less about winning and more about showing up honestly. 

Q. What does “reclaiming your story” look like in today’s world? 
A. Reclaiming your story today means disengaging from constant comparison and external metrics. It means deciding who gets to define your worth. In a world that rewards performance, reclaiming your story is choosing presence, self-awareness, and authorship over approval. 



DESIGN, STORYTELLING & PROCESS 
Q. Are there specific visual elements or motifs we’ll see repeatedly in this exhibition? 
A. Yes. You will see repetition through fragmented forms, and occasionally polka dot motifs. These elements reflect disruption, emotion, and movement. Nothing is accidental; each repetition reinforces the idea that growth is not linear, but iterative. 

IDENTITY & EMOTIONAL TRUTH 
Q. What conversations do you hope Restacking The Odds sparks around self-awareness and inner growth? 
A. I hope it sparks conversations about personal accountability without self-blame. About recognizing patterns, unlearning inherited narratives, and creating space for emotional honesty. The work invites viewers to ask themselves; where am I still playing by rules that no longer serve me?
 
Q. Is there a particular piece in the exhibition that holds the most personal meaning for you? 
A. Yes. There is one piece that emerged during a period of deep uncertainty. It represents a turning point; not because everything became clear, but because I chose to continue without clarity. That decision changed how I approach both art and life. 

THE EXPERIENCE 
Q. What should visitors expect to feel when they walk into the exhibition space? 
A. Visitors should expect a sense of stillness, reflection, and quiet confrontation. The space is designed to slow you down. Ideally, people leave feeling seen rather than instructed; challenged but not judged. 

IMPACT & LEGACY 
Q. What does success look like for you beyond numbers and recognition? 
A. Success looks like resonance. When someone recognizes themselves in the work and feels less alone in their internal struggles. It is about depth over reach; impact over applause.
 
Q. How do you hope your art empowers others navigating their identity? 
A. I hope the work reminds people that identity is not fixed, except for biological identity. It is permissible to evolve, to question, and to start again. Empowerment comes from realizing you are allowed to choose to redefine yourself at any point.
 
Q. What message do you want people to leave with after experiencing your work? 
A. That setbacks are not verdicts and Life is always about choosing. Not choosing to take control of your life and destiny is also a choice to not be in control of your life and destiny. That sort of awareness is power. And that restacking the odds often begins with an internal decision long before any external change appears.



LOOKING FORWARD 
Q. How has Restacking The Odds changed you as an artist and as a person?
A. It has made me more honest. I am less concerned with perfection and more committed to truth and expression. As a person, it has reinforced the importance of patience; trusting the process both creatively and personally. 

Q. Where do you see your creative journey evolving in the next few years? 
A. I see my practice expanding across mediums; combining art, design, and storytelling in more immersive ways. Restacking The Odds also has a documentary coming up. This came from questions that could not sit on the wall with the art; questions that needed real people and real stories to make a deeper impact. I am interested in building experiences that live beyond galleries; spaces where reflection, community, and growth intersect.


In 2004, Sunny Neji released “Tolotolo,” a song that quickly became a staple in Nigerian R&B and a soundtrack for a generation that understood playful, expressive love. Twenty-two years later, a new voice has entered the conversation. 



On February 19, emerging AfroSoulé artiste Nyinée (formerly known as RnB Princess) will release her new single, “Tolotolo.” While the word remains the same, the message evolves. Nyinée’s “Tolotolo” explores the tension between surface-level affection — the sweet, performative romance often celebrated in culture — and the deeper, intentional love that sustains real relationships. At its heart, the song asks a powerful question: will we settle for Tolotolo love, or rise to the standard of something real?




In a full-circle moment bridging two eras, Nyinée shared her single with Sunny Neji ahead of its release. His response on social media was simple and affirming: “Nice song,” accompanied by a few emojis. For Nyinée, that brief endorsement carried weight. “I’m truly delighted and honored,” she shares. “For a legend like Sunny Neji to even listen and respond means so much. I’m optimistic to meet him soon and thank him personally.”



With warm vocals, honest storytelling, and a contemporary AfroSoulé sound, Nyinée’s “Tolotolo” honors the past while confidently defining her own lane.


“Tolotolo” was released on February 19 and is officially available on all streaming platforms.

Philosophy has many different meanings; sometimes people tell you about their philosophy of life. They usually mean their deepest and most abiding beliefs or things that guide them to behave or do things in a particular manner. Spirkin (1983) posits that, "philosophy and art differ principally according to their subject-matter and also the means by which they reflect, transform and express it". In a certain sense, art, like philosophy, reflects reality in its relation to humans and depicts humans, their spiritual world, and the relations between individuals in their interaction with the world. Philosophy, as it relates to art, deals with the ideas and beliefs that drive and guide one into the creation of artworks. In this case, philosophy of art seems to be all- encompassing, as ideas could emanate from the artist’s socio-cultural environment, psychological, scientific, and sociological inclinations. Thus, most artists' artworks are driven by ideas and philosophies, and BemiStudi0 is not in isolation when it comes to that.

BemiStudi0’s symbolic series of paintings is philosophically inclined and engages with ideas drawn from existentialism, metaphysics, stoicism, and theological narratives. Through this gamut of works, BemiStudi0 reflects on fundamental questions about human existence and the nature of reality. The paintings explore themes of isolation, power, perception, and the limits of human understanding, presenting them in ways that invite reflection rather than direct answers.

In this series of paintings, BemiStudi0 philosophically attempts to capture life in its totality, even while acknowledging that life itself resists clear definition. Each painting becomes a visual investigation into what it means to exist, to perceive, and to endure within uncertain conditions. Rather than offering fixed meanings, the works remain open-ended, allowing viewers to bring their own experiences and interpretations into the encounter. Thus, the idea of unresolved runs throughout the series, emphasising uncertainty and unanswered questions. BemiStudi0 uses form, space, and symbolism to suggest philosophical positions without settling into a single narrative or conclusion. As a result, the paintings touch on different aspect of philosophical theories while remaining grounded in lived experience. Together, they form a contemplative space where thought, emotion, and belief intersect, reminding us of the complexity and fragility of human existence.

Perspective on Hello?

In the painting titled Hello?, BemiStudi0 depicts a male figure seated on what appears to be a box with an opening that suggests a hole. The male figure is painted in a mint green hue, while the background is painted mainly in dark blue, with other shades of blue, touches of red, and small areas of yellow. The background colours create a sense of tension and reflect the complexity of life. The contrast between the background colours and the mint green tone of the figure strengthens the composition and draws attention to the subject.

One of the striking aspects of the painting is the way the figure’s head is covered with what appears to be an oversized hat that completely hides the face. This disguise removes any clear identity or expression, suggesting anonymity and emotional withdrawal. The seated posture of the figure suggests stress, waiting, and expectation. The figure holds a telephone to the right ear with the right hand, an action that implies an attempt at communication. However, the absence of any visible response heightens uncertainty. As suggested by the title Hello?, the moment captured in the painting feels like a question that remains unanswered. See plate i one for Hello?


Plate i, Hello? Acrylic on Canvas. 2025


Philosophically, Hello? reflects ideas of existential isolation and interpretive relativism. The hidden face suggests the loss of individuality and the difficulty of being truly seen or understood in the modern world. The telephone, which ordinarily represents connection, becomes a symbol of silence and emotional distance. This reflects the human condition in which individuals seek meaning, connection, and reassurance, yet often encounter uncertainty and unanswered questions. Consequently, sometimes in life, despite repeated questioning and effort, answers do not always come. In this sense, the painting captures a moment of suspension, between hope and despair, communication and silence, presence and absence. The painting does not offer a solution but instead invites viewers to reflect on their own experiences of waiting, doubt, and unresolved questions. Through its restrained imagery and symbolic elements, Hello? remains faithful to the philosophical spirit of the series, emphasising uncertainty as an essential part of human existence.

Conclusion

In conclusion, this review has examined the philosophical inclinations in BemiStudi0’s symbolic series with a focus on the painting Hello?. Drawing from philosophical ideas rooted in existentialism, metaphysics, and interpretive uncertainty, the review shows how BemiStudi0 uses visual language to engage with fundamental questions about human existence, perception, and meaning. Rather than providing clear answers, the painting emphasises ambiguity and unresolved inquiry as central conditions of life. Finally, Hello? underpins the philosophical position that meaning is not fixed but continually shaped by experience and interpretation. By leaving questions unanswered, BemiStudi0 allows space for reflection and personal engagement, encouraging viewers to confront their own uncertainties and unresolved moments. The painting, like the symbolic series as a whole, affirms that uncertainty is not a weakness but a defining aspect of human existence. Through this open-ended approach, BemiStudi0’s work successfully bridges art and philosophy, offering a contemplative space where thought, emotion, and lived experience intersect.

This Piece was written by: Faida Samuel

Critic & Curator

Department of Fine Art 

Faculty of Environmental Design 

Ahmadu Bello University, Zaria 

faidasamuel@gmail.com


Nigerian producer NYRP (Not Your Regular Producer) has officially released his first single of the year, “Take Control,” featuring Nigerian vocalist Shorae Moore and Colombian artist EL RM. The record marks a bold new chapter for NYRP as he continues to position himself as one of the leading African producers driving cross-continent collaborations.



“Take Control” is a smooth, emotionally charged Afro-pop record built on confidence, vulnerability, and emotional clarity. The song seamlessly blends Shorae Moore’s soulful Nigerian delivery with EL RM’s textured Mexican influence, all brought together by NYRP’s polished, globally-minded production style.

With this release, NYRP intentionally stretches beyond regional boundaries, pairing African and Mexican artistry on the record a move that reflects his growing vision of African producers as cultural connectors in global music conversations. Rather than following trends, NYRP is actively shaping a sound that travels across borders while remaining rooted in authenticity.

“Take Control” arrives on the back of a strong 2025 run for NYRP, whose catalog continues to grow quietly but impactfully. Over the past year, he has worked across records and projects with L.A.X, Taves, Ayo Maff, Jinmi Abduls, Candy Bleakz, King Perry, Terri, and several rising artists.

An alumnus of the Sarz Academy, NYRP’s sound is shaped by both technical excellence and deep musical roots. His journey began in the church choir at age seven, evolving through live instrumentation before transitioning fully into music production and songwriting a background that continues to inform his layered and intentional approach to music.

With “Take Control,” NYRP opens the year not just with a new release, but with a clear statement of intent: African producers can lead global collaborations, not just participate in them.

LISTEN TO “TAKE CONTROL NOW”

Women in Music Tanzania (WIM Tanzania) a professional community and industry platform, is delighted to appoint Nina Brianna Sokoine as its Vice Chair. This appointment bolsters WIM Tanzania’s leadership as it continues to expand access, learning visibility and practical pathways supporting a more structured and sustainable music industry.

Nina is a legal and creative professional from Tanzania, who brings her expertise to the meeting point of music, business strategy and industry growth. Her focus is on creating the foundations for culture, such as partnerships, governance and systems that support creative talent and businesses in thriving over time.



WIM Tanzania leadership noted that ‘Nina brings a rare mix of industry know-how and strong work ethic’. ‘Her experience in music operations, entertainment law, partnerships and building the industry ecosystem really fits in with our goal of helping women find real opportunities and build lasting careers in the industry.’

Nina has a wealth of experience in the music industry, having worked in both operational and advisory capacities. Before that, she was an Operations Manager at an Artist Management Company in Tanzania, where she helped with the day-to-day operations and the business aspects of artist careers. Additionally, she was a corporate attorney and entertainment law advisor at Breakthrough Attorneys, where she supported entertainment and business matters, particularly focusing on professional structure and ensuring long-term success.

Nina is currently working as an Associate (IP, Media & Corporate Law) at Quinn Law Chambers, Project Manager at the Tanzania Kreative Business Hub and Head of Strategic Partnerships at BXTRA. In addition to these roles, she is leading her own projects in branding and communications, which gives her a unique view on cultural strategy and building the industry.



Nina’s role as Vice Chair is to enhance WIM Tanzania’s impact. This involves strengthening industry relationships, supporting capacity-building and confidence-building programmes and translating community efforts into nationwide, African and global outcomes. Her focus is on career access, knowledge, visibility and sustainable opportunities for women within the music industry.

About Women in Music Tanzania (WIM Tanzania)

Women in Music Tanzania is a professional community and platform that helps women thrive in music and related creative areas. WIM Tanzania focuses on growth by connecting people, sharing knowledge, making women more visible and building the industry. These efforts aim to increase access, improve pathways and create a more sustainable creative environment.

"I am proud to welcome Nina as our new Vice Chair. Her passion, leadership and commitment to uplifting women in the music industry reflect the values of our organization. I am confident that together we will continue to build stronger opportunities, visibility and impact for women in music across Tanzania."- Jusnah Gadi , WIM Tanzania Chair.

WIM Tanzania is officially back and better than ever. Expansion has already begun and we’re seeking members who share our vision of cultivating greatness in the music industry for women. Membership registration is ongoing so don’t miss out – the year ahead is packed with surprises designed to broaden your learning networking and many other opportunities. Keep an eye on our socials; you never know what you might discover.

 Multidisciplinary artist Vyn Lorenzo, visionary painter, fashion creator, and musician, takes a major step in his international career today by announcing the signing of an exclusive global management deal with multi-Grammy producer and world-renowned artistic strategist DannyBoyStyles

                                 

Under this groundbreaking partnership, DannyBoyStyles becomes Vyn Lorenzo’s exclusive global creative manager and strategic partner, overseeing the development of his music, art, and cultural presence worldwide. At the same time, Navarro W. Gray joins as Vyn Lorenzo’s lead lawyer and business manager, handling all legal, contractual, and financial aspects of the artist’s projects.

This dual-structured team combines creativity, strategic guidance, and legal security, providing Vyn Lorenzo with a solid platform to reach new global audiences.

Vyn Lorenzo: A Creator Who Transcends Disciplines

Vyn Lorenzo has established himself as a singular artist, blending contemporary painting, fashion, design, and music into bold and immersive experiences. Every project reflects his unique identity, where aesthetics and emotion converge to create works that resonate visually and culturally.


With DannyBoyStyles’ strategic guidance and Navarro W. Gray’s legal and business oversight, Vyn Lorenzo can structure his career while maintaining complete creative freedom.


DannyBoyStyles: A Top-Tier Creative Partner

Multi-Grammy award-winning producer DannyBoyStyles has shaped some of the most influential musical projects of the past decade. His ability to craft distinctive sonic universes and develop international careers makes him an ideal strategic ally for Vyn Lorenzo.

Among his landmark collaborations are The Weeknd (Kiss Land, Beauty Behind the Madness), Beyoncé (6 Inch – Lemonade), and projects with Juicy J, French Montana, NAV, and Belly. These successes have cemented his reputation as a masterful architect capable of elevating artists to global recognition.

Simultaneously, Navarro W. Gray supervises legal protection, contracts, partnerships, and financial strategy for Vyn Lorenzo. His role ensures that every creative or commercial initiative is secure, sustainable, and aligned with the artist’s international ambitions.

A Comprehensive Global Strategy

This strategic partnership offers Vyn Lorenzo:
• Creative direction and global management: DannyBoyStyles
• Legal and business management: Navarro W. Gray

By combining artistic vision, international networks, and legal expertise, Vyn Lorenzo enters a new phase where visual art, music, and branding converge to create a strong, cohesive global presence.

Towards Enhanced Global Recognition

With DannyBoyStyles and Navarro W. Gray at his side, Vyn Lorenzo reaches a historic milestone, solidifying his position among the most influential figures in contemporary art and global culture. This collaboration represents the perfect fusion of creativity, excellence, and strategic vision, paving the way for new collaborations and sustainable worldwide impact.

 LEON REMNANT: REDEMPTION, RESILIENCE AND THE RETURN HOME

 


Music And Moments With Leon Remnant
Issue 14.0 Jan. 2026
Interview Conducted by Ayo Fabiyi
Designed by Chiagozie Mbuba Tochukwu

Leon Remnant is back. Fifteen years away from home, navigating the music scene in the United States, and countless lessons learned, he returns with a sound that is raw, inspirational, and unmistakably his. From soccer fields in Ondo State to studios across continents, Leon opens up about his journey, his struggles, and his highly anticipated EP, Redemption.


Let us start from the beginning. Who was Leon Remnant before the music, away from the fame and the stage? 

Leon: I am a sports fan. I used to play soccer from high school through college in Nigeria. I represented Ondo State and also played for my college team. Initially, I wanted to become a soccer player, but life changed and music took over.


When did music stop being fun and start becoming your purpose?

Leon: My music journey started when Ruggedman and Eedris Abdulkareem were dominating the rap scene. I gained interest from listening to them and mimicking their songs. When I got to Adeyemi College of Education in Ondo State, I formed a group called J'slogs with another artist, just the two of us. But we were part of a larger community of artists who all stuck together and collaborated. There was West Tribe with 2 artists, Top Cloud with 2 artists as well, and we all worked closely together. That's when music really became more than just a hobby for me. 


In an industry where standing out requires strategy, what early decision shifted your career?

Leon: I had to learn the process because I did not want to follow trends. I wanted to create a sound that people would immediately recognize as mine. I started as a secular artist, but over time, I gravitated toward inspirational music. I do not make songs for clubs or trends. I make music based on how I feel, and my fans love that authenticity.


Your album Faith Over Fear resonated deeply. Was the title personal to you? Did you doubt yourself during the process?

Leon: Faith Over Fear was my first project and it came during the pandemic. Everyone was locked down, and I saw it as an opportunity to focus. Living in the United States, the hustle is constant, so I could not be a full-time artist yet. During lockdown, I locked in. Most of the project was done on Zoom with producers and engineers in Nigeria.

After that release, I took a break from putting out music to work on my sound and myself. Now, I feel ready to come back.


You have worked with Mike Abdul, Naomi Mac and the Rooftop MCs. Which collaboration challenged you the most creatively?

Leon:

My first collaboration was with Rooftop MCs and Sokleva, which pushed me because they were heavyweight rappers. It made me step up my game.

Mike Abdul was also challenging because he is very selective. My team reached out to him, he sent me his draft verses unmixed after listening to my previous records. I recorded my two verses  and sent it to the engineer first. He listened, liked it, and added his own. That collaboration built a bond. Infact his engineer eventually ended up been the engineer that mixed and mastered my whole album Faith over Fear. He also produced Like you, we move and fall on me off the album. I just sent my verse, and they added theirs. The engineer's name is Tyanx. He scores most of the top movies in Nigeria right now. He’s worked with big names like Funke Akindele and Femi Adebayo, creating the soundtracks for their films. He's scored some of the most popular movies in cinemas; films like Lisabi, Seven Doors, Gangs of Lagos, Jagun Jagun, and Battle on Buka Street, just to name a few. 


If someone is hearing your music for the first time, what track should they start with?

Leon: Pressure, my last single with Sossick. That song is very personal. Back when Dagrin released the CEO album with Sossick, it inspired me. I always wanted to work with Sossick. Last year, I shared my vision with him about creating an album together, and we decided to release Pressure first. People loved it, and I recommend it because it represents both the journey and what I aim to achieve musically.


Your upcoming EP is ready. How would you describe the story, themes and vibe to someone who has not heard it?

Leon: People say I have changed my style, and that is because I can rap gospel in a way that surprises you. You might think it is secular until you listen closely.

The EP has a street gospel vibe. People keep asking if I am a secular or gospel artist, All I will say is enjoy the ART. I’m an artist and I’m also a believer of Faith in a Christ. I could speak about my journey of faith in a song and next songs could be about my life experiences with is totally not related to my faiths or beliefs. I make musics based on my emotions and feelings. I called it pure arts. I let everything out when I hear the instrumental.

Redemption is about showing people the real me, sharing my story and growth, and giving listeners a chance to experience my evolution.


You are building your career in the United States, but Nigeria is still home. Are there plans to return? 

Leon: Yes. I was in Nigeria last year after being away for eleven years. I have lived in the United States for fifteen years. I plan to return next year for media runs and to promote my EP and album. 


What would that homecoming look like? Shows, collaborations or something bigger?

Leon: I am planning a big project with Sossick. We intend to create fifteen to twenty songs, and once they are ready, we will decide which artists fit best to contribute. I want to launch the album in Nigeria with a concert because it is a comeback, and I want people to connect with my music. 


You talk a lot about inspiring youth. Can you describe a moment when you realized your music was making an impact? 

Leon: In the United States, I first tried to sound like the mainstream artists, but I realized that being true to myself worked better. My style is inspirational, and it started resonating with listeners who appreciate authenticity. People might judge me by appearance at first, but once they hear the music, they understand the message.


What has been your toughest moment in this journey? 

Leon: One of my biggest struggles has been working with people who promised to help push my projects forward but didn't deliver on those promises. The work they put in wasn't up to the standard we'd agreed upon, and it didn't meet my expectations. It was really discouraging, and there were moments I felt like giving up. But encouragement from the right people kept me going. Then I connected with Solid Guy Magazine, and I knew I was finally in safe hands with people who genuinely cared and followed through. 


When things do not go as planned, how do you reset mentally and spiritually? 

Leon: I have had records that did not perform as I expected. Even the song with Mike Abdul had strong media runs, but being away from Nigeria affected the impact because I could not perform or promote.

Now, my focus is on building an organic fanbase, even if it is only one hundred people. I want people who truly understand and connect with my music, not just numbers or charts. 


Who is on your dream collaboration list? 

Leon: In gospel, Lecrae.

Outside of that, J Cole and Kanye West.

In Nigeria, Brymo, Asa, Bnxn and Vector.


If you could give your younger self one piece of advice, what would it be?

Leon: Work harder and be consistent.


Away from the music and persona, who is Leon Remnant when no one is watching?

Leon: I am family oriented and a sports lover. I am someone who values personal growth and staying true to myself.


Before we wrap up, what can fans expect from you in this new chapter?

Leon: Fans should expect authenticity, growth and evolution. This chapter is about reconnecting with my roots, sharing my journey, and making music that resonates deeply. Every song I release will have purpose, and I want to build a community that understands and feels my story. It is not about hype or charts, but about making a lasting impact and showing the real Leon Remnant.

 

After sharing his journey, challenges, and vision, Leon Remnant leaves no doubt: this is just the beginning. Redemption is more than music.. it  is his story, his growth, and his invitation for listeners to experience him fully. Remember to Stay Solid!

Ayo Fabiyi for Solid Guy Magazine.



Nigerian youth culture continues to evolve at a rapid pace, blending global influences with local identity amid economic challenges and rapid digital advancement. In recent years, particularly through 2025, youth culture in Nigeria accelerated dramatically — fueled by innovation, intentionality, global connectivity, and resilience shaped by the nation’s socioeconomic realities.


With over 70% of Nigeria’s population under the age of 30, young people are not merely participants in cultural change; they are its primary drivers. From the pulsating beats of the New Age music movement to entrepreneurial hustles and renewed political consciousness, this article explores the defining facets of Nigerian youth culture in 2026, drawing from current trends and forward-looking projections.



Music



Nigerian music in 2026 reflects a bold shift toward exploration, with increased attention on the underground scene and the emergence of New Age artistes. These creatives blend Nigerian sonic elements across diverse genres, producing a refreshing and unconventional soundscape. While the mainstream industry continues to secure global recognition, the underground scene thrives through community-driven engagement rather than mass-market appeal — a shift that explains the renewed spike in SoundCloud usage among Nigerian youth.



This underground movement is injecting new energy into Nigeria’s music ecosystem, marked by genre-blending between hip-hop, rap, and alternative sounds. Emerging voices such as Mavo, Zaylevelten, Wave$tar, ScottyOlorin, Artsalghul, Kamultra, Udishigh, and Bigg Bobby, among others, are shaping this new wave. Sonically, the scene is more intentional and confident, with deeper storytelling and a stronger sense of artistic direction.



On the business side, music is evolving just as rapidly. Access to music business knowledge — once limited to industry insiders — has been democratized through digital platforms. Young creators now operate with greater autonomy, negotiate smarter deals, and build sustainable careers without relying solely on traditional gatekeepers.



Fashion



In 2026, youth expression through fashion is louder, freer, and more personal. Nigerian fashion labels are increasingly unapologetic — confidently merging Western influences with indigenous fabrics, tailoring techniques, and local narratives. This fusion is not imitation, but reinterpretation.





Fashion now places Nigerian youth culture at the center of global style conversations. Labels such as Mezurashi Studios, Pith Africa, and Triads are redefining how clothing is conceived and produced. Community has become central to brand growth, replacing safe, mass-appeal aesthetics with intentional storytelling, experimental silhouettes, and cultural assertion. Designers are increasingly focused on making statements, while young consumers remain open and curious — embracing unconventional cuts, textures, and ideas as expressions of identity rather than fleeting trends.



Fashion is no longer just worn; it is curated, documented, and performed online.



Arts



In the vibrant landscape of Nigerian youth culture in 2026, artists stand as beacons of innovation — transforming canvases into narratives that travel far beyond local borders. This generation moves fluidly across mediums, blurring the lines between painting, digital art, sculpture, mixed media, fashion, and installation. Nigerian youth artists are no longer waiting to be discovered; they are self-publishing culture in real time.



Economic realities continue to shape this creative surge. Artists are increasingly entrepreneurial, leveraging NFTs, limited-edition prints, collaborations with fashion and music brands, and pop-up exhibitions to sustain their practice. In 2026, Nigerian youth art is not simply about aesthetics — it is about agency. These artists are cultural architects, shaping how Nigeria is seen, remembered, and imagined on the global stage.



Streams



Streaming culture has become a defining force in new-age Nigerian youth expression. Platforms such as TikTok (with over 23.8 million Nigerian users), Twitch, and emerging livestream tools continue to empower creators despite persistent connectivity and data challenges. For Nigerian youth, streaming functions both as a creative outlet and an economic pathway, where influence is built through consistency, relatability, and cultural fluency rather than institutional backing.


Livestreaming has evolved beyond casual content into a powerful discovery platform — spotlighting talent in comedy, music reactions, gaming, pop culture commentary, and experimental entertainment formats.


Creators are no longer merely “content makers” but digital performers shaping slang, humor, fashion cues, and internet folklore in real time. Notable figures to watch include Shank, RynEnzo, Carter Efe, Tega the Creator, and Fogzy, each representing a new class of youth-driven media personalities redefining visibility, success, and cultural relevance in Nigeria’s digital age.



Politics



In 2026, political consciousness among Nigerian youth is less about blind allegiance and more about awareness, critique, and strategic engagement. Young people are demanding transparency, questioning leadership, and holding institutions accountable — using social media, music, art, fashion, and online forums as tools of expression.



Politics is no longer confined to rallies and ballot boxes. It lives in tweets, lyrics, streetwear slogans, visual art, and livestream conversations — turning culture itself into a site of resistance and commentary.



Lifestyle



Lifestyle within Nigerian youth culture in 2026 reflects a generation navigating ambition, survival, wellness, and self-definition simultaneously. While economic pressure remains a daily reality, there is a visible shift toward mental health awareness, rest, boundary-setting, and intentional living. Success is increasingly redefined beyond material wealth alone.


Entrepreneurship remains central — from side hustles and digital businesses to creative freelancing and brand-building. The growth of remote work, creator economies, and online marketplaces has enabled young Nigerians to imagine livelihoods beyond traditional employment paths. At the same time, lifestyle aesthetics — cafés, travel, fitness, spirituality, thrift culture, and curated social lives — are documented and shared online, turning everyday living into both content and inspiration.


Community remains a core pillar. Through creative collectives, pop-up events, fitness groups, book clubs, and underground parties, young Nigerians continue to prioritize spaces that foster belonging and collaboration. Lifestyle in 2026 is expressive, intentional, and adaptive — shaped equally by constraint and creativity.



Conclusion


Nigerian youth culture in 2026 is bold, fluid, and unapologetically self-defined. Across music, fashion, art, streaming, politics, and lifestyle, young Nigerians are not waiting for permission or validation — they are actively shaping culture, building systems, and telling their own stories on global stages.


More than a trend cycle, Nigerian youth culture represents a movement rooted in resilience, creativity, and collective ambition. It is not only influencing Nigeria’s future, but contributing meaningfully to global cultural conversations.


📸 Photo Credits (Images 1,3,4 & 13) : IG//Jpegbyprince Prince