Adekunle Gold's new album, 'Fuji', has sparked a fascinating debate: Is it truly Fújì? And does it even matter?
In a bold move, Gold pays tribute to a classic Nigerian genre, but some critics argue that his interpretation might be missing the mark. On October 4th, Gold's energetic performance at Spotify's Greasy Tunes Café in Lagos left fans buzzing. The event was part of a three-week Afrobeat extravaganza, showcasing how music evolves into a unique culture and lifestyle.
Gold's album, 'Fuji', named after the distinct genre of the Yoruba ethnic group, has raised eyebrows. Critics like Dami Ajayi and Tomide Marv have pointed out the absence of Fújì's signature sound on the tracklist. This prompts the question: What does it mean when Afrobeat artists reinterpret tradition on a global platform?
'Fújì is the grandfather of Afrobeat,' Gold asserts. The genre, thought to be named after Japan's Mount Fuji, evolved from Wéré music played during Ramadan. It's characterized by complex percussion and call-and-response vocals.
Just last month, Barry Jhay, son of Fújì pioneer Alhaji Sikiru Ayinde Barrister, showcased his father's influence on Blaqbonez's 'Stacks $$$'. Gold himself acknowledges the influence of Fújì on his voice and sound.
Over time, Fújì has blended with other Nigerian styles, notes critic Joba Ojelabi. Ojelabi criticizes Gold's album as a mere tribute, lacking the essence of Fújì. Gold's 'Fuji' album explores various genres, from R&B to hip-hop, and even South African house music. Ojelabi asks, 'If we call this Fújì, will the world understand its true origins?'
However, Gold's 'Many People', a standout track, seems to capture the spirit of Fújì. It's a remix of Yinka Ayefele's gospel tungba hit, 'Mi O Mo J'orin Lo', with a twist. Fújì artist Adewale Ayuba sang the refrain first, on a song titled 'Fuji Music'.
Last month, 'Many People' took the Greasy Tunes Café by storm, especially when the disabled Yinka Ayefele joined Gold on stage. The crowd, mostly teens and twenty-somethings, erupted in pandemonium. Ayefele's appearance brought back memories of family gatherings where Fújì was played.
'I remember listening to Yinka Ayefele, R2Bees, Pasuma - the OGs,' says popular creator Sofiyat Ibrahim. 'His albums were like hidden treasures.' Ayefele's 'Mi O Mo J'orin Lo' is a celebratory song, triumphing over disability.
'Many People' has become a viral hit, with over 52,000 reels and 280,000 TikToks. Listeners are connecting with Ayefele's music, discovering a unique Nigerian experience. Gold's choice to use 'Fuji' as a symbol represents his artistic journey and a particular Nigerian culture.
'I named this album after an entire genre because Fújì is bigger than music,' Gold explains. 'It's an encapsulation of my life and music. This is reinvention. This is me carrying my roots into the future.'
So, is Adekunle Gold's 'Fuji' truly Fújì? The debate continues, but one thing is clear: Gold's album has sparked a conversation about cultural representation and artistic interpretation.
