As African music continues to expand across global markets, Nigerian independent label TheCAPMusic is entering what insiders describe as a new chapter: one that builds on its producer-first foundation while broadening into full-scale artist development.
The company first gained attention within industry circles for its early emphasis on producers, at a time when most labels focused almost exclusively on front-facing acts.
Producers such as Killertunes and Stunna were positioned as central creative pillars, contributing to a period widely regarded as pivotal in the international rise of Afrobeats around 2018.
But according to one of the company’s senior managers familiar with the label’s current direction, that phase represented a foundation rather than a final identity.
Founded by globally renowned DJ, producer, and cultural curator SPINALL, TheCAPMusic was structured as a creative development platform with long-term ownership and career sustainability at its core. In recent months, however, the company has begun shifting its public-facing strategy to reflect a broader ambition.
“We started from production because sound is the backbone,” said Chief Operating Officer Tolulope S. Verbal. “But we’re building something wider now, but the vision has always been long-term.”
He explained that the foundation of the company is deeply rooted in SPINALL’s own journey as a producer first. “The idea stemmed from that perspective. When you understand the architecture of a record, the arrangement, the mix, the emotion, the energy, you understand that sound is infrastructure.
From there, it became clear that we couldn’t just create records; we had to protect the curators of the sound. Producers, DJs, and engineers who are the real architects behind the culture.”
That widening includes the recent signing of new artists, with releases expected in the coming months. While details remain under wraps, insiders say the expansion reflects a more integrated model, one that combines production depth with artist branding, storytelling, touring strategy, and intellectual property development.
The shift comes at a time when African music is experiencing increased global competition and investment, prompting many independent labels to rethink structure and scale. Rather than abandoning its roots, TheCAPMusic appears to be layering artist development onto the producer-led systems it established early on.
Industry watchers note that this hybrid model, where production infrastructure and artist growth evolve simultaneously, may position the label differently within a crowded market.
In addition to recorded music, the company continues to explore live entertainment properties and cross-market collaborations, aligning with a broader vision of becoming a multi-dimensional creative platform rather than a traditional roster-based label.
Senior Artist Manager Kizito Ibezim describes it as a measured evolution. “This is not about momentum for the moment,” he said. “It’s about structure, timing, and positioning.
Every release is intentional, every move calibrated. We’re thinking in quarters and years, not weeks. The goal is to build equity in the brand, in the sound, and in the ecosystem we’re developing.”
Executives describe the current phase as deliberate rather than reactive, with emphasis on strategic releases and long-term positioning.
As Afrobeats moves deeper into mainstream global consciousness, TheCAPMusic’s next chapter appears focused less on defining a sound and more on defining a structure, one that now extends from producers to a new generation of artists preparing for wider audiences.
