By Joan Odafe
Spotify has unveiled a new playlist — “NXT —Ones to Watch 2026″—spotlighting 50 emerging artistes from Sub-Saharan Africa.
Spotify’s Head of Music for Sub-Saharan Africa, Phiona Okumu, in a statement on Thursday, said this year’s edition goes further, offering deeper insight into 10 breakout artistes from Nigeria, Ghana, East Africa and South Africa.
She said the artistes have moved beyond early buzz and steadily building loyal, cross-border audiences.
According to her, this reflects how African sounds are increasingly travelling sideways across regions before going global.
Okumu said rather than chasing instant hits, the NXT playlist captures artistes in an in-between moment — not yet mainstream but clearly on the move.
“Sitting between Spotify’s Fresh Finds and RADAR Africa, the playlist focuses on artistes whose growth is being driven by repeat listening, geographic spread and sustained engagement.”
She said in Nigeria, that momentum was already visible in the data.
According to her, Afrobeats artiste, Shoday,has recorded a 228 per cent year-on-year growth, with listeners expanding from Nigeria into the United States, United Kingdom, South Africa and Ghana.
Tracks such as Paparazzi and Shoday Kilode have drawn attention, while deeper cuts suggest growing range and staying power.
Zaylevelten’s rise tells a different story.
His Alte and Hip-Hop sound has posted an almost 22,000 per cent year-on-year increase, attracting listeners across Nigeria, the UK, U.S., Ghana and Canada.
Fan favourites including Idanski, Wuse Tu and Guide pass underline how underground music can scale when audiences feel a genuine connection.
Ghana’s NXT artistes are also seeing sustained growth.
Mellissa’s Afropop and R&B records have grown by 140 per cent, resonating across Ghana, Nigeria, the UK, U.S. and Canada, led by her standout track Goodboy (Kweku).
Jubed’s Afrobeats sound has surged by 300 per cent, with Ruwa acting as a key entry point while sustaining repeat listening across Ghana, Nigeria, the U.S. and UK signals long-term appeal.
Spotify said in East Africa, renewed interest in Hip-Hop and Afro-R&B was shaping discovery.
Kenyan rapper, Toxic Lyrikali has recorded a 1,493 per cent growth, with his viral hit Backbender spreading beyond Kenya into Tanzania, Nigeria, the UK and the U.S.
Zaituni’s rise has been steadier but intentional, with tracks Tamu and Tick Tock finding listeners across Kenya, U.S., Tanzania,UK and Denmark.
South Africa’s contribution highlights how alternative African sounds are travelling further than ever.
Babble Hume has recorded growth exceeding 15,000 per cent year-on-year, attracting listeners from South Africa to the U.S., Canada, UK and Australia.
Nanette’s growth, at 125 per cent, reflects consistent audience building across Southern and East Africa, with expansion into Nigeria and the U.S.
Christian and Gospel music is also emerging as a space of steady, intentional listening.
Artistes such as K3ndrick are quietly gaining momentum across Nigeria, the U.S. and Canada through Afro-gospel tracks like Guide Me and Calvary.
Sally’s softer Christian R&B sound has found audiences in Brazil, the U.S., UK and Canada with songs including Blessings and Chemical Hearts.
Taken together, the playlist paints a clear picture of how African music is growing today, not through a single breakout moment but through everyday listening habits that allow artists to travel across borders organically.
“What we’re seeing across Africa is that growth doesn’t happen overnight, it builds.
“Listeners are discovering artists early, returning to them, and carrying their music across borders in very real ways.
“The NXT playlist exists to recognise that moment of momentum, when an artist is no longer emerging on potential, but on connection,” Okumu said.
According to her, Spotify’s role is not to predict the future of African music, but to reflect what listeners are already doing.
Okumu said by spotlighting artistes at this stage, the platform aimed to recognise careers being built long before the headlines, one listen at a time. (NAN) (www.nannews.ng)
Edited by Folasade Adeniran
