Nigerian hypemen are increasingly becoming stars in their own right, and the growing Afrohype movement is attracting attention beyond the country’s nightlife scene.
One of the leading figures in the movement is Toby Shang, whose real name is Tobi Michael Adeyeye. Known for his energetic delivery and memorable expressions, he has helped popularise a style of performance that blends music, comedy, crowd interaction and spontaneous vocal expressions.
Unlike conventional singers, hypemen do not necessarily need a full song or lengthy lyrics to command attention. They use rhythm, humour, ad-libs and audience participation to turn an ordinary party into an experience people want to record and share online.
The style has become a familiar feature at Nigerian weddings, clubs, raves and corporate events. Some performers have also expanded beyond live appearances by releasing music, building online followings and training newcomers who want to enter the business.
A report published by The Guardian on Sunday highlighted the rise of Afrohype and its roots in older African traditions of praise-singing and call-and-response performance. The modern version draws on these traditions while embracing contemporary beats, viral trends and social media culture.
The growing popularity of hypemen also reflects how the entertainment industry is changing. Audiences are no longer interested only in the main artiste on stage; the atmosphere, spontaneous moments and personalities surrounding a performance can become attractions of their own.
However, the trend has its critics. Some argue that excessive shouting, inappropriate jokes and repetitive catchphrases can distract from the music. Others worry that certain performances place too much emphasis on flashy lifestyles and money.
Still, Afrohype continues to create opportunities for performers who know how to connect with a crowd. For some, what began as simply energising a party has become a serious career.
As Nigerian music culture continues to evolve, hypemen are proving that a microphone, a sharp tongue and the ability to read an audience can be powerful tools.
The question is no longer whether hypemen belong in the entertainment industry, but how far this new wave of performers can go. Could Afrohype become Nigeria’s next major entertainment export?
