Sometime in the late 2000s and early 2010s, a distinct music scene began to emerge in Nigeria’s underground. Led by acts such as DRB LasGidi, L.O.S, Ajebutter22, Show Dem Camp and Blackmagic, the movement embraced experimentation, blending global influences with distinctly local sensibilities to challenge conventional ideas of Nigerian pop. It would eventually become known as the Alte movement.
More than a decade later, that appetite for experimentation continues to find expression in a younger generation of artistes. Among the most compelling is Solana, born Ogunlana Oluwabusolami Habibat.
Her breakout single, “Okunkun“ (Yoruba for darkness), combines Yoruba lyricism with indie pop, rock and electronic dance music in a way that immediately set it apart. Listeners soon began referring to the sound as “Yorupop,” a term inspired by the song’s blend of Yoruba identity and contemporary pop influences.
Some have drawn comparisons with the Lijadu Sisters for her unapologetic embrace of Yoruba expression, while others hear echoes of Asa in the emotional intimacy of her music. Solana, however, sees those comparisons as incidental. She never set out to create a new genre or follow an existing one. She was simply making music that felt true to herself.
Ironically, that commitment to authenticity almost kept “Okunkun” from ever reaching the public. Recorded in 2023, the song was repeatedly met with the same reservations.
“I don’t think Nigerians are listening to this kind of music right now.” “This isn’t a Nigerian sound.”
For a while, those opinions gave her pause. But when the time came to release the record, she made a decision that would define not just the song, but her approach to music.
“I’m just going to be me. I’m going to put out what feels true to me, and whatever happens, happens.”
The decision proved worthwhile. “Okunkun” resonated far beyond expectations, affirming not only the song itself but also the creative instinct behind it. As she prepares to release her forthcoming EP, Solana remains committed to the same philosophy: creating music that is honest to who she is rather than what anyone expects her to be.
In this exclusive interview with The Nollywood Reporter (TNR), Solana reflects on the making of “Okunkun,” the conversations around “Yorupop,” her forthcoming EP and the artistic conviction guiding the next phase of her career.
TNR: For readers meeting Solana for the first time, who are you? Tell us about your journey into music and some of the earliest influences that shaped your sound.
Solana: I’m Solana, and I’m from Lagos State, Nigeria. I’ve been doing music basically my whole life. Music has always been my way of expressing myself from my earliest memories.
I think my sound has been shaped by life experiences, fiction, the things I see around me, movies, and also by growing up as a young girl in Lagos. My music is basically my life.
Growing up, I listened to a wide range of music, but some of the artistes I really looked up to were Rihanna, whose music and artistry I love, as well as Fela and Asa. I’ve always exposed myself to different kinds of music, and those influences have all played a role in shaping my sound.
Every artiste has a moment when they begin to understand the kind of musician they want to become. When did you first feel you had found your artistic identity?
As I said earlier, music has always been my way of expressing myself. Whenever I have something to say or something I want to talk about, I usually pick up a pen and start writing.
Growing up, I started meeting people who would hear my songs and tell me, “This is really good.” That encouragement definitely meant a lot, but I can’t point to a specific moment when I decided music would be my identity.
It just happened naturally. I woke up one day and realized music had become my whole identity. I’ve spent so much of my life doing music that I never really put my mind into anything else. It became such a natural part of who I am that, before I knew it, it was no longer just something I did, but who I was.
Your music draws from Yoruba culture while sounding strikingly contemporary. How has your background influenced the way you approach songwriting and sound?
Yes, 100 percent. I grew up in Lagos State, and I’m also a Yoruba girl, so I was surrounded by Yoruba culture from an early age. At the same time, I grew up immersed in Lagos’s culture.
Both of those experiences have had a huge influence on my music. They’ve shaped the way I write songs, the way I express myself, and ultimately how my sound comes across
You describe your music as “Yorupop.” What does that term mean to you, and what space are you hoping it occupies within Nigerian music?
Actually, I don’t define my music as “Yorupop.” That name came from listeners. It was something people used to describe my sound, not a label I created myself.
I understand why they call it that, though, because the music draws heavily from Yoruba culture while also having strong pop influences.
For me, Yorupop is really just an extension of who I am as an artist. I’m someone who loves experimenting with my creativity and trying different sounds, but even when I experiment, I always make sure the core of who I am remains in the music. I always bring something true to me into everything I create.
So I wouldn’t say Solana’s sound is simply Yorupop. I’d say Yorupop is one expression of my artistry, an extension of who I am, rather than the complete definition of my music.
There have been conversations around the term “Yorupop,” with some people saying you’re not necessarily creating a new genre but rather giving your music its own identity. Since you’ve said the label came from listeners, do you embrace it?
Yes, I do. I can’t fault the listeners because, if we’re being honest, I don’t think anyone has done it quite like this before. So when people hear something that feels new, it’s natural for them to give it a name.
I didn’t set out thinking, “I’m going to create Yorupop.” I was simply making music that felt true to who I am, where I come from, the culture I represent, and the generation I belong to. That’s all I was trying to do.
If you ask people to name other songs that sound exactly like what I’m doing, they might have to think for a while. So I understand why listeners came up with the name. I can’t blame them at all. If that’s the term they’ve found to describe what they’re hearing, then I completely understand it.
“Okunkun” has introduced many listeners to your music. What inspired the song, and why did you feel it was the right record to present this new chapter of your artistry?
I actually recorded “Okunkun” back in 2023, long before I started teasing or releasing it. Whenever I played it for people at the time, a lot of them would say, “I don’t think this is going to work. Nigerians aren’t listening to this kind of music right now.”
When I finally decided to release it, I was at a point in my life where I told myself, “I’m just going to be me.” I wanted to put out music that felt true to who I am and let whatever happened happen.
Thankfully, people saw what I saw in the song. They connected with it, vibed with it, and embraced the essence of what I was trying to express.
I believe everything happens at the right time. Releasing “Okunkun” came at a point in my career where I stopped trying to fit into expectations or second-guess what people wanted to hear. Instead, I decided to say, “This is Solana.” If people connect with it, that’s amazing. If they don’t, that’s okay too.
Moving forward, that’s the approach I’m sticking with. I don’t want to let outside opinions change how I create because, in the end, I think what drew people to my music was the fact that I was being completely authentic. That’s the energy I’m carrying with me throughout my career.
As a new artist, how do you balance staying true to your creative instincts while navigating an industry that often rewards familiarity over experimentation?
Like I said, I’m at a point in my career where I’m not really listening to opinions when I already know what I want. I’m staying true to my sound and to my creativity.
Of course, there are many valuable opinions out there, and I’m always open to learning, but right now my focus is on expressing myself honestly. I believe that if I’m true to who I am, people will eventually connect with the different sides of Solana.
So, moving forward, I’m choosing to be myself and create the music that feels authentic to me. I think that’s the best way for people to experience my artistry.
The production combines Yoruba lyricism with indie pop, electronic music, and rock in an unconventional way. How did that sonic direction come together with Killertunes?
Killertunes and I are always experimenting. When we were working on the song, we wanted to create something that felt cinematic, almost like music you could hear in a film, but that still sounded African and stayed true to our culture.
We’re always trying new ideas and pushing ourselves creatively, so the sound came together very naturally through that process of experimentation. We weren’t trying to fit into any existing formula. We just wanted to make something that felt honest, cinematic, and authentic to who we are, and that’s how the song came to life.
Many listeners have connected with the spirituality and emotional honesty in your music. How important are faith and personal experiences to your songwriting process?
They’re very important. I make sure to music that feels true to me. A lot of what I write comes from my life experiences, the way I grew up, the things I’ve seen, and even the movies I watch.
I also believe in God, and my faith naturally influences my music. It’s a part of who I am, so it finds its way into my songwriting just like every other aspect of my life.
For me, all of those experiences, my faith, my upbringing, and the things that shape me as a person, come together in the music I create. They all play an important role in my songwriting process.
“Okunkun” has given you a breakthrough moment. Are you thinking about following it up with an EP or an album to consolidate this momentum, and what kind of body of work do you envision to introduce listeners to your sound?
The original plan was always to release an EP. Before I started teasing “Okunkun,” it was meant to be the lead single, and the idea was to drop the EP about two weeks later.
But then “Okunkun” started gaining so much momentum, so the plan changed. What was originally going to be a four-track EP has now grown into a seven-track project.
The EP is definitely coming out, and I’m excited for people to hear it because it expands on the world I’ve started building with “Okunkun.” It gives listeners a deeper introduction to my artistry and the different sides of my sound.
But did you expect this level of response when you released it?
Actually, no. If you had asked me when I first recorded the song, I would have said yes, because I genuinely believed it was a really good record.
But after hearing so many people say, “I don’t think Nigerians are listening to this kind of music,” or, “This isn’t a Nigerian sound,” you naturally start to question yourself. You begin to wonder if they’re right.
So when the song started gaining traction, I was just like, “See? I’m not crazy.” (Laughs.) It was a really validating moment because people connected with the music the way I always hoped they would.
If you could collaborate with any Nigerian or international artist, who would it be, and why?
If I had to choose Nigerian artists, I’d say Asake, Rema and Burna Boy.
The reason is that they’re all so true to themselves. I usually describe Asake as music because everything about him feels authentic. The same goes for Burna Boy and Rema. I feel like they live and breathe music, and they put so much of themselves into their art. When you hear their music or see them, you immediately know, “This is Asake,” “This is Burna Boy,” or “This is Rema.” They each have such a strong artistic identity, and that’s something I really admire.
Internationally, I’d choose Rihanna. I love her so much. To me, she’s art. The way she expresses herself through her music, the way she carries herself, the way she dresses, everything about her feels intentional. She taught me the importance of expressing yourself freely and not letting anyone pressure you into conforming. I really admire that, and I’d love the opportunity to work with her one day.
Looking at the current Nigerian music landscape, do you think there’s still room for artistes to innovate sonically?
Yes, definitely. I think there’s still a lot of room for innovation. To be honest, I think many people are just scared to push boundaries.
I don’t believe there’s really anything stopping an artist from being themselves and making the kind of music they truly want to make. Maybe in the past, when it was harder to reach audiences, it was different. But today, with social media, you can put your music directly in front of people without having to wait for permission.
I’d actually encourage more artists to be creative and express themselves freely. I know there are a lot of people who have ideas they’re afraid to explore, but I don’t think anything is holding them back. The space is there; you just have to be willing to take the risk and be yourself.
With the attention “Okunkun” has brought, people are naturally curious about what’s next. What kind of artiste do you hope listeners discover as they continue following your journey?
I’m just excited to show people who I really am, my art, my music, and myself. I think that’s what I started doing with “Okunkun,” but there are still so many layers of me as an artist that people haven’t seen yet.
I’m always experimenting and pushing my creative boundaries, but even when I explore different sounds, the core of my music never changes. It always remains authentic to who I am. Everything I create still comes from that same place.
So I’m really excited for people to hear the EP because it reveals more of those different sides of me. I can’t wait to share it with everyone and let them experience the next chapter of my journey.
