This method really took off with the Fairlight CMI, a groundbreaking synthesizer from the late '70s that let musicians record and play back short audio clips, making sampling a big deal in the music world. As technology advanced, it became even more exciting and appealing to listeners.
By the '80s, sampling was everywhere, especially in genres like hip-hop, funk, and soul. Artists started to remix older tracks, giving them a fresh twist and creating entirely new pieces of art.
In Nigeria, sampling has also thrived, becoming a key way for artists to express themselves. It's been crucial in producing many global hits that highlight Nigeria's rich culture while also pushing the music industry forward.
Nigerian musicians have used sampling to create unique sounds that resonate worldwide, reshaping contemporary music and influencing artists everywhere.
This innovative approach has played a major role in defining Nigeria's music scene, making it a lively center for musical creativity.
At the recent 2025 Grammy Awards, Tems snagged the Best African Music Performance for her song “Love Me, Jeje,” which is a product of sampling. The original track was released back in 1999 by the legendary Seyi Sodimu.
Among today's Nigerian artists, Burna Boy shines as one of the most successful users of sampling. His impressive body of work draws heavily from the legendary Fela Kuti, who is a major influence in the Nigerian music scene and Burna Boy’s musical hero.
Fela Kuti has an impressive discography filled with samples, making his music a huge influence on both local and global artists. Take Burna Boy, for instance; his hit “Ye” cleverly incorporates Fela’s iconic track “Sorrow, Tears, and Blood,” connecting different musical eras. Plus, Burna Boy’s “Last Last,” which he calls the highlight of his career, samples Toni Braxton’s 2000 classic “He Wasn’t Man Enough,” showing off his knack for mixing genres.
Burna Boy doesn’t stop there; he’s infused Fela’s vibes into other songs too, like “Run My Race,” which samples “Teacher Don’t Teach Me Nonsense,” and “Ma Loda Ma Motto,” inspired by “Roforofo Fight.” His track “Soke” takes cues from Fela’s “Lady,” while “Army Arrangement” also showcases his creative sampling style.
Sampling is a common practice not just for Burna Boy but for many other prominent Nigerian artists, emphasizing its role in today’s music scene. For example, Wizkid drew inspiration from Fela Kuti’s “Jaye Jaye” for his own song of the same name. He also sampled VIP’s “Ahomka Wemu” in his hit “Manya.”
Davido is in on the action too, with his track “If” sampling Lagbaja’s classic “Gra Gra,” and “Fall” featuring elements from Kojo Funds and Abra Cadabra’s “Dun Talking.” Flavour’s 2011 hit “Nwa Baby” includes a sample from Rex Lawson’s 1960s song “Sawale.” Yemi Alade’s “Johnny” also takes inspiration from Wizkid’s earlier track “Caro,” highlighting the connections between these artists.
The widespread use of sampling among Nigerian musicians has not only sparked their creativity but also created a lively exchange between the musical past and present.
Sampling has definitely turned into a beloved and essential method in the Nigerian music scene. It gives artists a chance to honor their predecessors while creating fresh sounds that connect with today's listeners.