Sampling is a creative technique in music production that involves taking portions of existing songs, be it melodies, rhythms, or vocal snippets, and integrating them into new compositions.

This practice gained prominence with the advent of the Fairlight CMI, an innovative synthesizer developed in the late 1970s that enabled musicians to record and playback short audio snippets, thereby bringing sampling into the mainstream. As technologies evolved, its creation became more dynamic and appealing to music audiences.

By the 1980s, sampling had firmly established itself across several major musical genres, particularly in hip-hop, funk, and soul, where artists began to reshape the soundscape by layering samples from older tracks, breathing new life into them, and crafting entirely new pieces of art.

In the Nigerian music scene, sampling has flourished as well, evolving into a powerful tool for artistic expression. It has played a pivotal role in producing numerous global hits that not only showcase the rich cultural tapestry of Nigeria but also contribute significantly to the evolution of the music industry.

READ ALSO: 2025 GRAMMYs: Tems wins Best African Music Performance

Through the use of sampling, Nigerian artistes have crafted distinctive sounds that resonate on an international level, helping to transform the landscape of contemporary music and influencing artists worldwide.

This dynamic approach has helped define the trajectory of the music industry in Nigeria, the icing on the cake, and has established it as a vibrant hub of musical innovation.

In the just-concluded 2025 Grammy, Tems won the Best African Music Performance with “Love Me, Jeje,” which is a creation of sampling. The original song was released in 1999 by the legendary Seyi Sodimu.

Among the current crop of Nigerian artists, Burna Boy stands out as arguably the most successful proponent of sampling. His impressive discography is heavily influenced by the works of the iconic Fela Kuti, who remains a seminal figure in the Nigerian music scene and is Burna Boy’s esteemed musical idol.

Fela Kuti himself boasts a discography that is remarkably rich in samples, with his music being an inspiration for both local and international artists alike. For example, Burna Boy’s breakout hit “Ye” cleverly samples Fela’s powerful track “Sorrow, Tears, and Blood,” effectively bridging generations of musical talent. Furthermore, “Last Last,” which Burna Boy has described as the defining song of his career, samples Toni Braxton’s 2000 hit “He Wasn’t Man Enough,” showcasing his ability to blend genres and influences.

Burna Boy has also incorporated elements from Fela’s music into several other tracks, including “Run My Race,” which samples “Teacher Don’t Teach Me Nonsense,” and “Ma Loda Ma Motto,” derived from “Roforofo Fight.” His song “Soke” draws from Fela’s “Lady,” while “Army Arrangement” also reflects the creative sampling that characterizes much of his work.

READ ALSO: Nigerian Music’s Next Chapter: Trends, insights, predictions for 2025 – Sampson Malachy

Sampling is a prevalent technique not only for Burna Boy but also among many other notable Nigerian artists, highlighting its significance in the contemporary music landscape. For instance, Wizkid has found inspiration in Fela Kuti’s “Jaye Jaye,” utilizing it for his own track “Jaye Jaye.” Additionally, Wizkid also sampled VIP’s “Ahomka Wemu” for his popular song “Manya.”

Davido has also engaged in this practice, as seen in his song “If,” which samples Lagbaja’s classic “Gra Gra,” and “Fall,” which includes elements from Kojo Funds and Abra Cadabra’s “Dun Talking.” Meanwhile, Flavour’s 2011 hit “Nwa Baby” showcases a sample from the 1960s track “Sawale” by Rex Lawson. Yemi Alade’s “Johnny” also borrows from Wizkid’s earlier release “Caro,” adding to the interconnectivity of these artists’ works.

The widespread adoption of sampling practices among Nigerian musicians has not only enriched their creativity but has also fostered a vibrant dialogue between past and present musical expressions.

Sampling has undoubtedly become a cherished and integral technique within the Nigerian music scene, allowing artists to pay homage to their forebears while crafting innovative sounds that resonate with contemporary audiences.