How to Promote Your New Song in Nigeria

A Nigerian release does not move because a song is online. It moves when the right people in specific cities have the record, the story and a reason to use it. Start with the audience you can actually describe: Lagos clubs, Abuja radio, Port Harcourt DJs, diaspora listeners in London, or a gospel community. A campaign that tries to be everywhere usually reports activity that does not belong to anyone.

Prepare the public assets before you ask for attention. You need a clean master, artwork, a song link, a short biography, credits, and a press photo that looks like the project. If there is a video, say when it lands. If there is not, do not imply one. Curators, blogs and presenters lose time when the link is private or the title on the artwork does not match the file.

Split the work by channel. Independent playlist curators need genre, mood and similar records. DJs need the clean version and a note about where it fits a night. Radio needs a servicing pack and a follow-up, not a mass email with twelve attachments. Creators need a point of view: a lyric, a dance, a city, a story. Press needs an angle that is not “new song out now”.

Write down what you will count. Contacted, replied, posted, published and verified spins are campaign activity. Streams, followers and views can be observed later, but they are not something a promoter should promise in the proposal. If a number is missing, leave it blank. Invented dashboards make the next release harder to judge.

Give the campaign a window. Two to four weeks is enough to service a single and learn which channels responded. At the end, keep the outlets that replied. The next release should start from that list, not from zero.