Adekunle Gold has long established himself as one of African music’s most versatile figures—an artist who thrives on evolution. At every stage of his career, he has resisted creative stagnation, constantly reinventing himself through sonic shifts, aesthetic rebranding, and a restless pursuit of new frontiers. His discography, from Gold to About 30, Afro Pop Vol. 1, Catch Me If You Can, Tequila Ever After, and now Fuji, reads like a gallery of distinct eras, each with its own identity and sonic signature.Â
With Fuji, Adekunle Gold does not merely experiment—he takes a daring leap into the heart of one of Nigeria’s most iconic genres, extending the lineage of Alhaji Sikiru Ayinde Barrister and the Were traditions that birthed it. The 15-track project is a rich exploration of Fuji’s percussive core, filtered through Adekunle Gold’s modern sensibilities and global outlook. It is both homage and innovation: a body of work that seeks to preserve Fuji’s essence while testing its elasticity through fusion with contemporary sounds and collaborations across borders. Contributions from an eclectic cast—Lojay, Shoday, Davido, Don Toliver, 6lack, Asa, Cruel Santino, Simi, Robert Glasper, Soweto Gospel Choir, Mavo, Tkay Maidza, and Yinka Ayefele.
The opening track, “Big Fish”, immediately sets the tone with a Sakara sample from the legendary Lefty Salami Balogun. Adekunle Gold frames the record as a personal reflection on his journey from modest beginnings to the global stage—while the production continually morphs, layering synth motifs over shifting drum sequences. Fuji, at its core, thrives on rhythm, and that rhythmic insistence comes alive on “Don Corleone”. Heavy percussion drives the record, a masterclass in layered drum programming that embodies Fuji’s pulse. The subtle but powerful addition of background vocals from Simi softens the density of the drums, adding a wholesome texture.Â
On the pre-released “Bobo”, featuring Lojay and Shoday. The track is a fascinating experiment bringing both acts into his world—Lojay’s smooth melodic runs and romantic sensibility colliding with Shoday’s streetwise cadences and Afropop flair, all draped over Fuji instrumentation. Adekunle Gold engineers a meeting point where styles don’t just coexist, but amplify one another. The album takes an intimate turn on “My Love is the Same”, introduced by a heartwarming exchange with his daughter, Deja. Here, Adekunle Gold grapples with the personal costs of artistry—constant travel, physical distance, and the strain it places on family life. Yet the track, tender in tone, serves as an assurance of unwavering love, grounding the larger-than-life sonic experiment in raw humanity.
For African indigenous elements to gain visibility and new audiences, gap bridging has to happen and Global fusion becomes a central theme as the album progresses. On “Believe”, Adekunle Gold reimagines Bill Withers and Grover Washington Jr.’s classic Just the Two of Us, weaving nostalgia with fresh intimacy. It’s a track that feels both familiar and new—an elegant nod to his earlier, soulful style while affirming his current artistic identity. “Love is an Action”, with 6lack, pushes the fusion further, merging Fuji-inspired percussion with hip-hop sensibilities. It’s a daring juxtaposition that proves Fuji is not confined to cultural boundaries, but can converse fluently with global genres.
One of the album’s undeniable highlights is “Many People”, where Adekunle Gold is joined by Yinka Ayefele. Beyond the nostalgia of revisiting Ayefele’s classic, the record is a cultural event in itself—reinventing tradition on a grand scale while celebrating Fuji’s enduring relevance which stands as both a tribute to history and a statement of continuity. Elsewhere, Adekunle Gold expands his palette with “Attack”, featuring Tkay Maidza, Mavo & Cruel Santino. A track rich with two-step Amapiano elements, its layered vocal arrangements and haunting chorus deliver a hypnotic, dancefloor-ready experience. Tkay’s eerie refrain, coupled with Cruel Santino & Mavo’s distinct direction contribute to a record that feels like a bridge of Mainstream Afropop & the Alternative scene, a well done collaboration.
Adekunle Gold’s chemistry with Davido resurfaces on “Only God Can Save Me”, a quintessential Afrobeats cut that tackles the dilemmas of love and dating in contemporary Nigeria. Despite both artists’ marital statuses, the track resonates with its universal relatability, encapsulating the push-and-pull realities of romance in a playful yet poignant way. As the project approaches its closing stretch, Adekunle Gold maintains momentum. “Oba” stands out with its Alujo-driven structure, where trumpet flourishes, layered claps, and intricate vocal textures converge into a vibrant, celebratory tapestry. It is a sonic feast that reaffirms the album’s ethos: tradition as a living, evolving force rather than a static relic.
One of the most striking features of Fuji lies in its production—an aspect that feels deeply intentional. Adekunle Gold has mentioned being particularly hands-on throughout the project’s creation, and that personal involvement radiates through the album’s meticulous arrangements and sonic cohesion. A prime example of this is “Simile”, featuring the Soweto Gospel Choir. The track opens with delicate string progressions—pianos, cello, and violin intertwining in graceful conversation—before the choir’s harmonies enter, transforming the piece into something transcendental. The production is cinematic in scope; that it feels like immersion into a live orchestral performance. Following this grandeur is “I’m Not Done”, which closes the project with introspection and grace. The song takes on a soulful direction, both thematically and musically, with subdued yet powerful instrumentation underscoring Adekunle Gold’s reflective tone. Here, he revisits his journey from his debut, confronting the passage of time while reaffirming his vitality and creative relevance. Despite its reflective nature, this is not a farewell record—it’s a declaration of endurance, a testament to his growth, resilience, and unrelenting drive to keep pushing boundaries.
At a time when African music’s global visibility has reached unprecedented heights, Fuji arrives as both a statement of pride and a lesson in cultural preservation. The world’s eyes are on the continent, and Adekunle Gold seizes that moment to project one of Nigeria’s most authentic indigenous sounds onto the global stage. Yet, what makes Fuji remarkable is not just its revivalist spirit, but its sophistication. Adekunle Gold doesn’t merely pay homage; he redefines the genre by merging it with modern production techniques and cross-continental collaborations without diluting its essence. This album stands as a cultural artifact—an exhibition of how traditional African forms can live, breathe, and evolve within contemporary frameworks. Fuji is not content to exist within nostalgia; it’s an expansion of what the genre can be in the 21st century.Â
Ultimately, Fuji cements Adekunle Gold’s place as one of modern African music’s most visionary figures. The sequencing is flawless, the production intentional, and the storytelling coherent—each song seamlessly leading into the next, creating an unbroken emotional and sonic narrative. It’s a no-skip project that engages, excites, and educates, all while reaffirming the power of indigenous sound in a global context. With Fuji, Adekunle Gold makes a statement, one that will undoubtedly be remembered as his magnum opus.
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