“We’re showing that choral music can be fresh, relevant, and powerful in pop culture, not just something for the background or religious settings, but a force that can stand at the centre of the stage and move the culture forward” — Loud Urban Choir.
By Abioye Damilare Samson
There’s an African proverb that says, “If you want to go fast, go alone. If you want to go far, go together”. It’s a familiar saying that feels especially apt when describing the rise of Loud Urban Choir in the Afro-Pop scene. What began as a coming together of friends, each with distinct musical backgrounds and vocal styles, has evolved into one of Nigeria’s most exciting choral collectives.
Over the past few years, the Lagos-based collective has grown into one of the most captivating acts on the live circuit, blending contemporary hits with soul-stirring harmonies and choral finesse.
Their viral refix of Ayra Starr’s “Bloody Samaritan”, which earned them a coveted spot on the Kelly Rowland remix, marked a breakout moment. But the group was ready. “Going viral is one thing”, Bee Kay, one of the members, said during our chat. “But being consistent is another. If you don’t have a good work ethic before the moment comes, you either drown or pack your bags. Thankfully, we already had structure and routine. We had been rehearsing, recording, and working as a team before that moment came”.
Since then, Loud Urban Choir has continued to command attention, earning co-signs from Fireboy DML and Teni, performing alongside Afro-Pop heavyweights like Burna Boy, Wande Coal, and Phyno, and becoming a staple at major events, from corporate giants like MTN, Nestle and NLNG to high-profile national ceremonies, including the 2025 Sports Festival at Abeokuta’s MKO Abiola Stadium, where I had the chance to watch them live.
But it’s not just their visibility that sets them apart. Loud Urban Choir is redefining what choral music can sound and look like in contemporary Nigerian and African pop culture by bringing structure, showmanship and spiritual energy to every performance.
In this exclusive conversation with Afrocritik, members of Loud Urban Choir reflect on their beginnings, the power of collaboration, and why their next chapter may be their most defining yet.
Let’s start from the top. How did Loud Urban Choir come about? Did it start from a church?
Not at all. We didn’t start from a church. A few of us met on reality TV shows, and we were already friends at some point. Over time, we thought it would be great for strong individual vocalists to come together and build something meaningful. As we started, we just found that many people loved what we did, which became the motivation we needed to push even harder and make it better.
We also realised there wasn’t really a mainstream choral expression in Nigeria’s music scene, so we decided to fill that gap. And thankfully, people responded positively to what we were building.
Many people first encountered you through your viral “Bloody Samaritan” cover, which eventually led to a feature on the Kelly Rowland remix. What was it like navigating that moment?
It was huge. But more than anything, we were prepared. Going viral is one thing; staying consistent is another. If you don’t have a good work ethic before the moment comes, you either drown or pack your bags.
Thankfully, we already had structure and routine. We had been rehearsing, recording, and working as a team before that moment came. So when it happened, it felt heavenly, but we also knew we had to convert it into something bigger. If we were operating at 50% before, we immediately switched to 100%. We didn’t want to be one-hit wonders.
After that, we sat down and asked ourselves the tough questions: What next? Who do we want to collaborate with? What do we want people to say about us? What kind of impact are we aiming for? That planning changed everything. It helped us recreate the strengths of that moment across future projects, shows, and recordings. Putting a solid structure in place was what helped us stay relevant and grow even bigger.
Your covers of Fireboy DML’s “Iseoluwa” and Teni’s “Money” also got direct shoutouts. What does that recognition mean, especially for deeply personal songs?
It means everything. In this industry, co-signs carry a lot of weight, especially when they come from people you’ve looked up to for years. There’s something special about creating from a place of sincerity and then having those very artistes see it, feel it, and respond to it. It validates the journey.
For us, “Iseoluwa” was more than just a cover. That song holds a lot of unspoken truths, things you might not say in everyday conversation, but can express through music. It captured the essence of our collective journey: the ups, the doubts, the silent prayers. To have Fireboy DML acknowledge that was deeply meaningful.
And with Teni, it meant even more because she’s now a friend of the choir, not just a distant celebrity. That kind of relationship means so much to us as a team. These covers are extensions of our own story. So when the artistes see and celebrate them, it gives us even more reason to keep going.
You’ve shared stages with Burna Boy, Phyno, and Wande Coal. What was it like performing alongside such dynamic artistes?
It was deeply affirming. Sharing stages with artistes of such different energies and styles, yet still holding on to our core, reminded us that what we do is powerful. It validated everything that inspired us to start Loud Urban Choir.
Each time we reinterpret a song, be it from Burna Boy, Phyno, or Davido, we’re reminded that even though their sounds are unique, there’s something about our approach that resonates. They see the value in our sound and invite us to bring that magic to their music, whether it’s Reggae, Highlife, Pop, or Rap; our choral style adds a unique layer to whatever we touch. That level of recognition is a serious reaffirmation of our purpose.
You hosted your first-ever self-headlined concert, the star-studded The Pop-Up Show, last December. What did curating an entire show around your sound feel like? Did it challenge or affirm your identity?
It was a beautiful show to begin with, but it definitely came with its fair share of challenges. We had barely two to three weeks to pull it off, and that tight timeline meant we had to double or even triple our efforts. Normally, we rehearsed once a week, but for this show, we shifted to three times a week, working not just on music, but on movement, stage dynamics, and overall coordination.
Time and finances were major hurdles, but thankfully, a number of people who believed in our vision came through to support us. That experience taught us that we’re capable of much more than we imagined. If we could achieve that in under a month, imagine what we could do with three.
What made it even more special was the kind of support we received. A number of people from the Nollywood and music spaces showed up and showed love. It was heartwarming to see how much our music resonated, not just with our longtime fans, but also with people who were experiencing us live for the first time.
We’ve performed at a lot of events, but this felt different. It was personal. That’s why we called it “The Pop-Up Show”. We wanted something intimate, something that allowed us to connect directly with the people who’ve supported us. And in the end, it turned out to be an unforgettable moment.
Loud Urban Choir has become a go-to act for corporate events, from MTN and Nestle to the British Council and even the National Sports Festival in Abeokuta. How do you adapt your performances for such different audiences without losing your core?
Our range allows us to adapt, but we always maintain our choral essence. That’s what they book us for. We tailor each performance to the event, sometimes even incorporating brand-specific lyrics or themes, but our sound and values remain consistent. That’s why clients keep coming back.
Loud Urban Choir has a wide sonic range, which allows us to adapt to different genres and settings without losing what makes us unique. No matter the event, whether it’s MTN, the British Council, Nestlé, or the National Sports Festival, we always bring our rich choral sound. That’s actually what attracts clients to us in the first place. They see the distinctiveness in what we offer.
And we’re lucky to have individual members whose influences span across genres. We’ve got people with backgrounds in Reggae, R&B, Fuji, and even Rap. So we’re able to blend all of that into something vibrant and meaningful, no matter the crowd. That versatility keeps us grounded and dynamic.
How do you physically and mentally prepare for a performance? Any rituals?
We are very big on rehearsals. We take preparation very seriously, both mentally and physically. Rehearsals are a big deal for us. Every week, we meet at least twice to run through setlists, rehearse vocals, and refine our performance. Vocal warm-ups are essential, and we always tailor our set to the specific event. No two performances are ever exactly the same.
Even if we’ve performed a song ten or fifteen times, we believe there’s always room to reimagine it, if it’s a new vocal twist, an arrangement shift, or movement on stage. It keeps things fresh for us and the audience.
We don’t just show up on the stage because we’re talented. What people see is the result of consistent behind-the-scenes work, tight rehearsals, mic checks, sound runs, and intentional collaboration. We also believe we’re only as strong as our least prepared member. So, the goal is to bring everyone up to the same standard, every single time. That’s the discipline we’ve built into our process.
When it comes to live performances, Nigeria still falls behind. What are the major challenges?
So, I’ll use our show, The Pop-Up Show, as an example. It was a beautiful show to start with, but it did come with a lot of challenges. We had just about two or three weeks to prepare, and that made things really intense. Time was short, finances were tight, and suddenly, instead of rehearsing once a week like we usually do, we had to rehearse three times a week. We were learning music, choreographing movement, and putting together an entire production, all within that short window.
One of the biggest challenges was finding a proper space and time to rehearse and set up. A lot of venues here charge you separately for rehearsal days and event days. So, even if you want to set up a day before and do a proper soundcheck, you’re told to pay extra. That’s hard when you’re on a budget. But we made it work, thanks to people who came through to support us.
Sound was another big challenge. In Nigeria, we often overlook how crucial sound is to a successful live performance. Sometimes, we’d arrive and the speakers weren’t ready, or the mics were of low quality. So even if you’ve set up once, you need time to come back and recheck things. But you find event planners rushing you, expecting you to just show up and perform magic.
And we’re a big group, so things like mic checks, individual volumes, and syncing instruments take time. What we’ve learned is that magic doesn’t just happen on the day of the event, it’s made in those hours of preparation. That’s why we’re so big on rehearsals. If we had three months to plan that show, it would’ve been even more incredible. Still, we pulled off something special in just a few weeks, and that reminded us that we’re capable of even more.
Do you think Loud Urban Choir is reviving perceptions of choral music, or creating something entirely new?
A bit of both. We’re definitely drawing from the rich traditions of choral music, but we’re also reimagining it in a way that feels new and exciting. There hasn’t really been a choir occupying this kind of space in mainstream Nigerian Pop, not with this level of visibility, influence, and artistic direction.
So, while we honour the roots and structure of choral singing, we’re also reshaping how people see and hear it. We’re showing that choral music can be fresh, relevant, and powerful in pop culture, not just something for the background or religious settings, but a force that can stand at the centre of the stage and move the culture forward.
If you had the chance to collaborate with any artiste right now, who would it be?
Burna Boy, definitely. His journey, his commitment to live music, and the level of detail he brings to his performances really resonate with us. Then there’s Tems also. Her voice is otherworldly. To even be a member of Loud, your voice has to be distinctive, and that’s something she embodies effortlessly. We also admire how intentional she is with her brand, her song choices, and her lyrics.
Both of them have shifted the culture in powerful ways. So, if we could dream up a perfect collaboration right now, it would be with Burna Boy and Tems.
From visuals to harmonies, your arrangements feel very structured and elegant. What guides your song selection and interpretation process?
When we come together to pick songs, we don’t just chase after what’s trending. No, first, we pay attention to the message of the music. Does it align with our values? That’s very important to us. You’ll never hear us promote violence or anything that contradicts what we stand for. So we filter every potential cover through the lens of whether its message is meaningful and aligns with our identity.
And it’s not about genre either. It doesn’t matter if it’s Afrobeats or Arabic-inspired music, we find a way to reinterpret it with our unique expression. Everyone in the group brings their intuition and musicality, and we work together to create something layered and intentional.
Interestingly, we’ve had people come up to us and say, “I didn’t care much for the original version until I heard your cover”. That tells us we’re doing something right by presenting familiar music in a new light, with depth and soul.
Loud Urban Choir boasts several members, which often begs the questions of how its internal structure is. Do you guys have a management team, a creative director, or are you just winging it?
There’s a clear structure in place. Running a group as large and creatively diverse as Loud Urban Choir requires intentional organisation. We have a dedicated management team, and different arms handle various aspects of our work. There’s a fashion team responsible for our style. Every outfit you’ve seen us in is carefully curated. There’s a team for sound, another for creativity and composition.
So, while we show up with smiles and harmonies, there’s a full machine operating behind the scenes to keep things running smoothly. We’re very detailed and structured in how we work.
Have you ever encountered creative differences? How do you resolve them?
Definitely, we’ve had creative differences. It’s almost inevitable in a group of this size and talent. But the beauty of Loud is that we’ve spent enough time together to understand each other’s personalities. We’ve built a structure that allows everyone to express themselves and be heard. Everyone has a voice at the table. Once all ideas are laid out, we collectively decide what works best for the group. It’s always a fair process. And honestly, seeing how it all comes together is something special; you’d have to experience it to truly understand how magical and harmonious it feels.
Loud Urban Choir has become a household name. Are we getting original music soon?
Yes, original music has always been part of Loud Urban Choir’s long-term vision. It’s just that over time, we’ve had so many collaborations and opportunities with artistes reaching out, and those moments kept coming back-to-back. Naturally, that made us pause on releasing originals. But behind the scenes, we’ve been recording and putting in work.
We’re also making sure our covers and refixes are available on streaming platforms. The plan is that by our next concert, we’ll be performing original songs alongside some of our most-loved covers. So yes, expect a fresh, authentic version of Loud Urban Choir very soon.
Any upcoming projects or partnerships we should be looking forward to?
How about we leave you with a little surprise? There’s quite a lot we’re working on, collaborations, new projects, and a few exciting curveballs. If you scroll through our Instagram or keep up with our socials, you might catch a few hints. But honestly, we believe in showing up when everything is fully baked. So when it’s 100%, you’ll see, and we promise, it’ll be worth the wait.
Abioye Damilare Samson is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle