Nigerian indie artists outearn labels on Spotify in 2025

Independent artists and labels took home roughly ₦34.8 billion from Spotify in 2025, out of the ₦60 billion ($43.7 million) generated by Nigerian artists on the platform. The balance went to major-label-affiliated artists.

The figures come from Spotify’s annual Loud & Clear report, which tracks how artists are building careers through streaming. “Loud & Clear is an opportunity to spotlight the evolving pathways artists are taking to build sustainable careers, and to show the many ways Nigerian creators are shaping the future of music,” said Jocelyne Muhutu-Remy, Managing Director of Spotify Africa.

Revenue grew by more than 140% over two years. Local consumption grew 170% year-on-year. Nigerian artists generated 30.3 billion streams and 1.6 billion listening hours, and were discovered by first-time listeners over 1.3 billion times — a 26% increase from 2024.

The 58% royalty share going to independent artists is backed by a 75% year-on-year growth in local streams for indie acts. The music industry has long been dominated by major record labels. These numbers suggest that it is changing.

Part of the shift is structural. Artists can now distribute music, collect royalties, and reach audiences without a label. Spotify’s editorial pipeline reinforces this as nearly 2,000 Nigerian artists were added to playlists in 2025, regardless of label status.

The report arrives as Afrobeats singer Crayon and Mavin Records, his label home since 2019, are in the middle of a public fallout. The situation is not new to the Nigerian industry. Artists have been leaving labels for years, with mixed results.

Kiss Daniel left G-Worldwide, changed his name to Kizz Daniel, and has been commercially successful. Others have struggled to sustain the momentum they had under a label. More recently, Shallipopi left Dapper Music in late 2024 over reported royalty disputes. Under the label, he earned just 15% of his revenue. After leaving, his song “Laho” generated over ₦200 million quickly, though he also faced difficulties with show bookings in early 2025. Seyi Vibes and Asake are other recent examples of artists navigating exits from their labels.

Reekado Banks, who left Mavin in 2018 to start Banks Music, is one of the most referenced cases. His early years independently were difficult, but he eventually found his footing with “Ozumba Mbadiwe.” The streaming economy he stepped into in 2018 is not the one artists would be stepping into in 2026.

Asa, D’banj, Fela, and, more recently, Cavemen, whose Headie Award-winning album was recorded in their living room, are all examples of artists who have built careers outside the traditional label structure.

Local streams of Nigerian female artists also grew 55% year-on-year, another segment the report flags as gaining ground.

Nigeria’s music industry is projected to reach $1.03 trillion by 2033, and independent artists appear to already be claiming their share of what is coming.