Is Afrogospel the New Alté?

The late 2010s were a cultural shift. DRB Pioneers just dropped. Odunsi’s rare was the IT album on every critic’s pen and creator’s playlist. Cruel Santino (then FKA Santi) gave us Mandy & The Jungle, a sonic universe for escapism. PSA, some are still lost in there. 

And then came Try Me, Tems’ mid-tempo, confrontational anthem that nobody could ignore. Left, right, centre, new African music acts were emerging into the spotlight.

Totally different, unconventional, rebellious — from their sound to their thrifted fits and dirty sneakers, from DIY aesthetics to persona branding, everything about these acts stood in opposition to mainstream Afrobeats. They were alté (uhl-teh).

Independent yet together, without any rigid formula, these artists were creating something that didn’t quite fit in, and they didn’t care. That was the point. They were building a sub-genre, or perhaps no genre at all, just timeless records that effectively screamed identity, carved communities, and defined an entire era. You had to be there.

Fast-forward to 2025, five years post-lockdown. We’re witnessing a movement that mirrors the rise of alté, but this time, with a different sub-genre and a new set of players.

Unlike alté, which kept its distance from Afrobeats, Afrogospel leans in. It borrows the drums, sequences, and tempo, but with a twist. These artists are not about the individualism alté was known for. Neither are they into the appeal of the opposite gender, wealth, affluence, or activism that Afrobeats is saturated with.

They sing about Jesus Christ.

You’ve probably heard the term already: Afrogospel. The next big Afro-cultural export. Let’s talk about it.

Nigeria is home to diverse religions, with Christianity making up a large portion of the population.

For years, this demographic avoided mainstream cultural spaces. But now, Christian Afrogospel artists are stepping in unapologetically, bringing faith, values, and bold creativity to the same stage their secular counterparts once dominated.

Are they up to something?

From TikTok trends to radio airplay, Afrogospel is no longer confined to Sunday mornings. Songs like Gaise Baba’s No Turning Back II with Lawrence Oyor, Lawrence Oyor’s Favour, Bidemi Olaoba’s Isi Gini, House of Salem’s Promise Keeper, Emmanuel and Anendlessocean’s EL are proof. Add in names like Greatman Takit, Simidele, Moses Bliss, Ebuka Songs, Blessing Lopez, and you see how Afrogospel is cementing itself as a cultural powerhouse with the potential to succeed culturally and commercially in ways alté couldn’t.

Alté vs Afrogospel: Differences

Alté gave us identity and subculture. Afrogospel offers that yet is pushing for something bigger: cultural and commercial success, anchored in faith.

Afrogospel is backed by a passionate Christian fan base that isn’t going anywhere. Alté was a coming-of-age phase, but faith, in a country like Nigeria, faith overrides vibes.

Still, what happens when both can co-exist? That’s what Afrogospel delivers: a medium where artists can showcase their creativity beyond the usual worship music but still within the confines of the gospel they uncompromisingly preach.

The log drums, sequences, high tempo — it doesn’t matter. As long as the gospel is emphasised, that is Afrogospel.

Interestingly, like alté during its rise, Afrogospel has its critics. Some critics worry the rhythms will dilute the message, that as Christian music gets more mainstream, the edification of worship could fade. That gospel music could slip into mere entertainment.

Others believe, like other sub-genres that attempted to break out, it is all hype and it all eventually fades.

But Afrogospel isn’t starting from scratch. Long before this moment, artists like Henrisoul (Gbagoro Agbago), Ada Ehi (Bobo Me), and Frank Edwards (You Too Dey Bless Me) were already experimenting with upbeat, urban gospel sounds. Tim Godfrey’s Agidigba was an anthem in its own right, although the coming years were going to prove quite challenging due to acceptability.

The seeds were planted.

But post-lockdown, the soil became fertile. By 2023, The Covenant Nation hosted its first Afrogospel concert headlined by Limoblaze, with Angeloh, DJ Horphoray, Gaise Baba, IBQuake, and Greatman Takit.

The following year, a second edition featured Prinx Emmanuel and more, marking a pivotal moment in Afrogospel’s timeline.

Today we have The Experience, Luli Concert, Hallelujah Challenge — events attended by hundreds of thousands rallying around faith and vibes — Afrogospel.

Afrogospel is a movement that blends faith and culture like never before. It is not just gospel rebranded. It is gospel amplified, carried on Afrobeats drums, and voiced by a generation unashamed of what they believe.

Alté showed us rebellion. Afrogospel is showing us revival.