Yet, despite Afro-Pop’s mainstream dominance, it continues to draw inspiration from Fuji, borrowing its lyrical depth, percussive intensity, and unmistakable Yoruba essence.
By Abioye Samson Damilare
If you were to ask any random music lover what artiste comes to mind when they think of Fuji music, there’s a high chance that the Maestro, Olasunkanmi Ayinde Marshal, popularly known as K1 De Ultimate, would pop into their mind almost immediately. And it’s no surprise, as K1 De Ultimate has been one of the genre’s most influential artistes for decades. His distinctive style of Fuji, tagged “Talazo”, emerged as a refreshing brand of the genre that resonated with socialites in the 80s, elevating it from obscure scenes into the limelight.
But the truth is, Fuji didn’t start with K1 De Ultimate. Before him was late Chief (Dr) Sikiru Ayinde Barrister, the quintessential architect of Fuji music, whose artistry laid the groundwork for the genre in the 60s.
Alongside him was Alhaji Ayinla Kollington, a peer and rival, who was also making waves in the 70s, shaping the sound and style that would come to define the genre. For all of the rivalry and competition that marked their relationship, Ayinde Barrister was—still is—revered as the most prominent figure in the genre, and even to date, his legacy is inextricably linked to the genre’s identity.
To understand his stature, one must recognise that nearly all the artistes who followed in his footsteps refer to him as ‘Oba Fuji’, meaning ‘King of Fuji’, whenever they honour his name in their songs.
Although the genre itself has roots that dig deep into the rich soil of “Were” music—also known as Ajisari, a traditional sound performed to rouse Muslims before dawn during the sacred Ramadan season—it wasn’t the only genre to emerge from it.
Waka music also grew from Were, but while Fuji evolved under the influence of mostly male artistes, Waka found its voice largely through women, with pioneers like Alhaja Batile Alake and Salawa Abeni. This lineage highlights the genre as peculiar to Muslims and reveals its origins within the Yoruba tradition.
Historically, the origin of the name Fuji has various interpretations. Some schools of thought believe it was coined by the visionary Ayinde Barrister, who supposedly encountered a poster advertising Japan’s iconic tourist attraction, Mount Fuji, during his time working as a typist and military clerk.
On the other hand, Bayo Sulaimon Adegbenro, a respected musicologist and broadcaster, presents an alternative narrative. In an interview, Adegbenro contends that the genre was coined before Ayinde Barrister popularised it.
According to him, the term likely evolved from ‘Fuja’ and ‘Faaji’—local slang referencing the older Were music played outside the Ramadan season. This debate, if anything, highlights the fluid nature of its identity, which continues to evolve while staying deeply rooted in its historical origins.
The genre has no shortage of successful artistes, from Saheed Osupa to Pasuma, Obesere, Adewale Ayuba, Malaika, and others, who have remained at the forefront, propelling the genre for over three decades.
To keep the genre alive and relevant to younger audiences, some of these artistes have modernised its sound, threading it into the evolving Nigerian music landscape. Pasuma, for example, developed his Afro-Fuji style, while Adewale Ayuba introduced the Bonsue style—both approaches aiming to bridge the gap with the younger generation.
By the late 1990s and early 2000s, these innovations led to unlikely yet memorable collaborations with Nigerian Hip-Hop and Afro-Pop artistes. Pasuma joined forces with the Remedies on “Jealousy”, released in 1999 and later with 9ice in 2008 on “Ati Jelo”, blending Fuji’s earthy rhythms with the punchy beats of contemporary sounds.
Adewale Ayuba, on his part, teamed up with Jazzman Olofin for the infectious 2004 record, “Raise Da Roof”, a track that was as much Fuji as it was pure groove. Through these partnerships, its reach stretched wider, proving itself adaptable yet unshakably rooted in its essence.
By the time Afrobeats took over the Nigerian music scene in the 2010s, Fuji’s mainstream allure had waned. The genre that once drew cross-generational crowds was now pushed to the margins, catering mainly to its most dedicated fans in local circles where its rhythms had always resonated. But with that shift came a certain social snobbery. It became seen as “music for the streets”—and “local” sound compared to Afrobeats’ polished, global-facing image.
But here’s the truth: the classism that surrounds the genre has never been about language or sound alone. It runs deeper, rooted more, frankly, in the reputation of most of its fanbases. If you’re from Ibadan city, where I am from—and a place that’s home to a good number of Fuji artistes in Nigeria—you know that themed events are infamous for erupting into scrappy brawls.
The fans of warring stars take their allegiances beyond the music—escalating rivalries into heated physical clashes that have become part and parcel of some of its concert experience. This is worlds away from Afrobeats fans, who, at worst, are engaged in Twitter beef and stan wars, hurling insults and memes rather than fists.
Yet, despite Afro-Pop’s mainstream dominance, it continues to draw inspiration from Fuji, borrowing its lyrical depth, percussive intensity, and unmistakable Yoruba essence. Artistes like Olamide, a relentless hitmaker of the late 2010s, understood this link well.
In 2013, he tapped into the genre’s storytelling tradition with “Omo Anifowoshe” to deliver a reflective, hard-hitting rap that sampled K1 De Ultimate’s 1989 “Orin Abode Mecca Medley”. By 2016, Olamide took it a step further, going full throttle into the genre with “Orobo” laced with raw, unfiltered lyrics and rhythm-heavy instrumentation that is its DNA.
When Teni first struck gold with her infectious hit, “Fargin” in 2017, the line “Teni, Olomoge Cinderella, ohun to fisisaya yi po” was a masterful nod to Adewale Ayuba’s timeless classic “Omoge Cinderella”, released back in 2004.
That same year, Davido wasn’t left out, he interpolated K1 De Ultimate’s legendary line “Agogo Ko ro/ Agogo Ko ma ro” from his 2010 track “Agogo Koro”, breathing fresh life into the vibrant intro of his Pon-pon-inspired banger, “Like That”.
Asake later joined the conversation in 2022 with the intro track “Dull” off his debut album, MMWTV where he deftly incorporated the evocative phrase “Oke Agba ni mo gun yi, ema Jen jabo” from the Ayinde Barrister’s 1980 song, “Oke Agba”.
His chart-topping global anthem “Active”, featuring the superstar Travis Scott, creatively weaves in Adewale Ayuba’s unmistakable vocals from Jazzman Olofin’s 2004 Fuji-Hip hop classic, “Raise Da Roof”.
Then there’s “Uhh Yeahh,” off his Lungu Boy album—a brilliant EDM-Fuji fusion. Who could have predicted that amidst the soaring popularity of Afro-Pop on the global stage in 2024, Asake would be shutting down arenas worldwide with “Fuji Vibe”?
The Fuji track that draws slightly from the distinctive instrumental arrangements that characterise Adewale Ayuba’s “Ijo Fuji”, released in 2004.
The artistry in these choices shows a deep reverence for the roots of Fuji, transforming familiar lines into something fresh and new. Beyond just interpolating verses, when you press play on Barry Jhay’s 2019 song, “Tomorrow”, you’re greeted by a guitar solo that is directly lifted from the late Ayinde Barrister’s legendary 1988 track, “Fuji Garbage Medley”.
Even Wizkid, one of the key figures in the globalisation of Afrobeats, has openly acknowledged the genre’s influence on his music. In an interview, he cited it as a foundational sound that informed the rhythm and energy behind “Pakurumo”, his 2011 hit.
With its buoyant beat and streetwise lyrics, that track bore the hallmarks of Fuji’s celebratory vibe, woven seamlessly into Afro-Pop’s polished fabric. Fuji had subtly carved its place within Afro-Pop’s DNA, pulsing under the sheen of pop-driven melodies and dance-floor anthems.
It is worth emphasising that the cross-pollination of Fuji with Afro-Pop ignited again when Pasuma released the album, My World, in 2016, a body of work that leaned into Afro-Pop’s melodic sensibilities without abandoning Fuji’s grit.
Tracks like “Ife”, a collaboration with Afro-Pop star, Tiwa Savage, became instant favourites, resonating with both Fuji loyalists and the Afro-Pop crowd. The fusion even intensified when in K1 De Ultimate reimagined some of his old songs on his Fuji: The Sound EP in 2020, infused with a contemporary Pop sound that harmonised perfectly with the modern soundscape.
When Remi Aluko, one of Fuji’s magnetic artistes and entertainers, said in his Echo Room interview that Afrobeats borrows heavily from Fuji, he wasn’t wrong. In 2023, Seyi Vibez blessed us with “Fuji Interlude”, a raw Fuji gem that rides on that quintessential 100 to 120 beats per minute (BPM) metronome, that sets the perfect stage for live dancing.
As Afro-Pop continues to gain global traction, it’s clear that Fuji’s sonic influence has only grown bolder. Artistes like Portable, Small Doctor, Mohbad, Zinoleesky, and others are tapping deeply into Fuji’s spirit and blending it with Afro-Pop to create something wholly their own.
These musicians have taken the foundational elements—Fuji’s storytelling edge, its call-and-response format, its gritty vocal textures—and reimagined them for an audience that spans Lagos streets to international stages. And as artistes continue to innovate and draw from Fuji, the symbiotic relationship between the two genres is destined to flourish.
Abioye Damilare is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle