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Rock N' roll, soul, and later funk, became very popular in Nigeria, and elements of these genres were added to jùjú by artists such as IK Dairo.

Meanwhile, highlife had been slowly gaining in popularity among the Igbo people, and their unique style soon found a national audience.

Much of this innovation was the work of IK Dairo & the Morning Star Orchestra (later IK Dairo & the Blue Spots), which formed in 1957.

these performers brought jùjú from the rural poor to the urban cities of Nigeria and beyond.[18] Dairo became perhaps the biggest star of African music by the '60s, recording numerous hit songs that spread his fame to as far away as Japan. Mensah, easily the most popular highlife performer of the 1950s, toured Igbo-land frequently, drawing huge crowds of devoted fans.

Main article: Fuji music Apala, a traditional style from Ogun state, one of yoruba state in Nigeria, became very popular in the 1960s, led by performers like Haruna Ishola, Sefiu Ayan, Kasumu Adio, and Ayinla Omowura.

Ishola, who was one of Nigeria's most consistent hit makers between 1955 and his death in 1983, recorded apala songs, which alternated between slow and emotional, and swift and energetic.

After a very long time — with hits such as "Orilonise," Fuji Disco/Iku Baba Obey," "Oke Agba," "Aye," and "Suuru" — he later changed the group's name to "Supreme Fuji Commanders" with a bang! Ayinde's rival was Ayinla Kollington, "Baba Alatika," known for fast tempo and dance-able brand of fuji, who also recorded hit albums like "ko bo simi lo'run mo e, in the 80s he released "ijo yoyo, Lakukulala and American megastar" to mention few of his successful albums.

Nigerian music also uses ostinato rhythms, in which a rhythmic pattern is repeated despite changes in metre.

However, political corruption and rampant music piracy in Nigeria has hampered the industry's growth.

Following World War II, Nigerian music started to take on new instruments and techniques, including electric instruments imported from the United States and Europe.

Fuji grew steadily more popular between the 1960s and '70s, becoming closely associated with Islam in the process.

Fuji has been described as jùjú without guitars; ironically, Ebenezer Obey once described jùjú as mambo with guitars.

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