As audiences increasingly crave more intimate engagement, live streaming platforms—particularly Twitch—could become central to how Nigerian music is released…
By Abioye Damilare Samson
It is hard to talk about the growth of Nigerian Pop music without mentioning the contribution of digital marketing. In the early days of Nigerian Pop music in the 2000s, before the proliferation of digital platforms, the music industry was in a starkly different place. CDs, radio, and TV were the dominant mediums of music distribution and promotion.
At the centre of this tightly-controlled system was Nigeria’s infamous Alaba market, where music publishers, often operating in syndicates, controlled the entire value chain. These gatekeepers determined which artistes got reach, airplay, and revenue. The physicality of CDs and cassettes meant artistes had to sell in person or through distributors to connect with fans.
But by the mid-to-late 2000s, a new trend of music blogs emerged. Platforms like NotJustOk, Jaguda, Naijaloaded, and TooXclusive became crucial players in the new digital ecosystem. In this era, roughly between 2007 and 2015, artistes had to ‘premiere’ songs through these platforms to gain digital traction. It was a step forward from physical distribution but still relied heavily on gatekeeping.
Everything changed when smartphones and affordable data plans arrived. Suddenly, music promotion became democratised. With Instagram, Twitter, and especially Audiomack and YouTube, artistes could now bypass blogs altogether and reach fans directly. At the early stage of their careers, acts like Zlatan, Bella Shmurda, and Omah Lay rose through this new direct-to-audience model and found fame by building digital communities around their sound. Even with that, the tools of distribution and marketing kept evolving and so did audience behavior. Currently, live streaming is taking centre stage.
The Nigerian music ecosystem is witnessing a revolution through livestreaming platforms like TikTok Live and Twitch. These platforms give the artistes that direct access to promote their songs, and even invite fans into the creative process. Unlike Instagram reels or pre-recorded YouTube videos, livestreaming offers a kind of intimacy like unscripted moments, live feedback, and spontaneous connection.
One of the most significant examples of this shift was during the rollout of Davido’s fifth studio album, 5ive. In a surprise move, he appeared on Cruel Santino’s Subaru World livestream on Twitch for a casual chat, where he spoke about his production era, the process behind the album and his artistic growth.
He also teased a few tracks ahead of the album’s release. The appearance made the rollout one of the most humanising moments of his career. This interaction was far more authentic than typical album promotions and it signaled how top-tier Nigerian artistes are embracing live streaming platforms to connect with fans on a personal level.
Similarly, Rema appeared on a Twitch stream hosted by Nigerian streamer, Rynenzo, after his Houston concert, debriefing the show with fans, teasing new material, and laughing in real time. For an artiste who is known for tightly curated visuals, aesthetics and mystique, the Twitch appearance offered fans a window into the artiste behind the spectacle.
Some Nigerian skit makers and streamers have also become unlikely conduits for music promotion, bridging the gap between artistes and fans. Shank Comics, who initially built a large audience through his comedic skits and YouTube streaming, has expanded his reach by also streaming on Twitch. He’s hosted artistes like Blaqbonez, blending comedy with live music performances and offering fans a unique, interactive experience across both platforms.
Peller, often referred to as Africa’s biggest streamer, has amassed a cult following through TikTok Live, where he’s hosted some of Afro-Pop’s heavyweights like Davido, Tiwa Savage, and even hosted a listening party with Olamide ahead the release of his last EP, Ikigai.
Recently, he has also expanded to Twitch, a move that reflects a broader migration among Nigerian streamers toward more immersive, long-form digital content. Then there’s Sien, a Twitch streamer whose engaging broadcasts invite artistes into the spotlight. His fun questions about their creative process turn each conversation into a playful exploration that offers fans a deeper connection to the music-making journey.
In a distinctively interactive manner, Carter Efe, another notable skit maker, has ventured into livestreaming by blending gaming and comedy, often inviting guests like Zlatan. This approach brings a raw, unrestricted look at the personalities behind the music and offers fans an interactive experience through his comedic and gaming sessions.
These collaborations reflect a deeper cultural shift in Nigerian audience behavior that transcends mere promotional stunts. Today’s fans crave authenticity and proximity. They want to be part of the artistes’ process and not just passive consumers of finished products.
Livestreaming satisfies this hunger by offering real-time interactivity that traditional media formats cannot replicate. Artistes read fan comments live, answer spontaneous questions, and even shape performances based on audience feedback. This creates a sense of shared space and a form of community for the artiste and the fans.
This was evident during Shank Comics’ Twitch stream with Olamide recently. Even though technical issues, primarily internet connectivity, disrupted the session, the few minutes that aired still dominated online conversations. Screenshots and short clips of the interaction circulated widely, proving that even brief, imperfect livestreams can make cultural impact.
At the heart of this shift is a growing desire among Nigerian audiences for experiences that feel spontaneous, authentic, and co-created. TikTok Live offers short-form virality moments that trend in seconds. Twitch, on the other hand, allows for longer, more layered engagement. Together, they create a hybrid model of performance and participation, where artistes express and perform, and fans interact in real time.
As a result of these developments, live streaming is making a strong case for being the next frontier in music marketing. With digital strategies like influencer partnerships, social media campaigns, and streaming playlists already in place, artistes are now measuring their relevance through streams, chat-room shoutouts, and real-time fan interactions. And in an industry where monetisation is still uneven, these platforms offer built-in pathways through subscriptions, donations, brand partnerships, and digital merch.
As audiences increasingly crave more intimate engagement, live streaming platforms—particularly Twitch—could become central to how Nigerian music is released, consumed, and celebrated, through surprise cameos, album listening parties, and spontaneous Q&A sessions with artistes.
Abioye Damilare 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