#Nigerian storytelling

[rizumuj]

Tola is the moment!!

Have you all seen Iwájú? It's pretty good, and I hope it gets another season to properly explore the advancement of technology in Lagos and fixing the classism that takes place throughout the series.

[mightymur]

[ISBW] From Patent Memos to Nebula Nods with Wole Talabi

S20 Ep13: In Which Mur Attends Wole Talabi’s Creative Alchemy Transcript   “The primary driver of my sense of success is, ‘do I feel happy with what I’ve done?'” – Wole Talabi Mur chats with Wole Talabi, an engineer turned author (but still engineer). They discuss the Schrodinger’s Cat of publishing, the thrill of rewriting old stories for new audiences, and the joy of challenging the norms of…

[inkfulinsight]

…

How could I explain that mentally, I was always there? In the mornings before class, I’d play on the lawn behind the white fence. Between classes, I’d run through the yellow corridor. At lunch, I’d sit alone at the center of the trauma, at that table. After school, I’d visit my mother’s library, and at night, I’d find myself in that too-bright room at the far end of the house with its barren furniture.

With very few belongings, none of which were ever really mine, leaving should have been easy. Yet I stayed—and even after my body escaped, I lingered a little longer.

[melanatedmedia2]

"Iyanu: Child of Wonder" - A New Frontier in Animated Storytelling

Hey everyone! Have you heard about the upcoming animated series "Iyanu: Child of Wonder"? It's an exciting project that celebrates Nigerian culture and mythology. Can't wait for this epic journey to unfold!

[on-wine-dark-seas]

So what finally convinced you to selfship?

Whew, this might actually net me some disdain, resentment, etc, but...I'm gonna power through this because I have a lot of opinions, and I wanna make it clear why I'm taking on this challenge.

So full disclosure: I don't actually really like Reader fics. It's not that they're not well-written. On the contrary, a majority of them are brilliant, and most of my favorite fics in this fandom are Reader[ish] fic. Now, the reason I don't like this is not because of the second-person perspective. I'm a longtime gamemaster, writing and speaking in second-person doesn't bug me. I've read The Fifth Season by N.K. Jemisin. Second-person can be a rad storytelling element.

What bugs me is the obvious farce of Reader fic.

I know a lot of writers and artists try their best to keep descriptions of the Reader out of their narration, but it almost always manifests and becomes glaringly obvious that the Reader is their OC stripped of name and defining physical characteristics. Even in the art, it's very clear that Y/N is an OC or a generic, skinny, white, feminine body.

Now, here's the issue: I'm a dark skinned Black woman with curly/kinky hair, and I'm not skinny or perceived as delicate [despite my best efforts]. When I see descriptions about my fave supposedly combing their hands through my hair, or my lips being plush and pink, or my CHEEKS TURNING PINK WHEN I BLUSH, I immediately separate myself from the Reader and replace it with what is obviously the writer's OC or self-insert. And there's absolutely no shame in them doing that! I am the CEO of the OC x Canon agenda, and I will always push for people to be fearless in creating OCs.

And so much of the Reader fic is making it painfully obvious that that's what everyone wants to do, and because no one wants to risk losing readers/views/kudos/comments at best, or being labeled the dreaded Mary Sue at worst, we get inundated with a lot of fanfic and fanart that clearly have heavy OC overtones.

I never see myself as the Reader because the writers are never visualizing me when they're writing the Reader. It's not even about the choices Reader makes in a fic, it's the obvious coding of the Reader's appearance, if that makes sense? I'm sure other Black women in fandom can relate.

So, because of this, I can't feel truly immersed in the story as if I'm the protagonist because the Reader is not me.

Does this look like a fragile, delicate, wide-eyed ingenue waiting to be seduced by the big, bad wolf? No. I am a woman of many vibes: I fuck. I fight. I curse. I spit blood and I dance until the sun comes up. I can also be very soft and sweet and affectionate [just ask the polycule], but most importantly: I'm Black as fuck; not just in appearance, but culturally. I come from Nigerian and American parents. I have a very rich cultural background that shapes and influences everything about me. And none of that is ever reflected in the Reader fics I read, and even some of the ones supposedly featuring a Black reader are holding back in significant ways. Yes, even the ones I praise and laud endlessly. Again, it's not about the quality of the writing, it's about the principle at its core.

And how could I ever expect a writer to account for a person like me in their stories? Why would I ever expect them to? Reader fics ring false for me because there's too many unique people out there to settle for generic nondescript details about the literal protagonist. And I have the misfortune of being in a fandom where that is mostly all there is to read. As a result, I have to do some extra mental gymnastics to enjoy reading fic. I would rather be reading about other people's OCs, if we're being honest.

I got tired of reading fic where I still felt like an interloper or outsider in a story that is supposedly about ME. And I decided to take the plunge and write a story that actually features me as the protagonist and love interest. Not the Reader. The Writer. I'm definitely not the first, and I hope I'm not the last. I feel like this is the natural progression for someone who exclusively writes OC x Canon.

On the other side of this, I understand why Reader fic has become so popular in the fandom. It's an easy way for people to get eyes on their work because now the readers feel like they can be invested in the story because the protagonist is them. And for some people, that's enough. But for those of us who are already ostracized, ignored, and even abused in fandom, and treated as Other, this is not always the case. It's not as easy as slipping into a new coat cut exactly to my size, and more like I'm in the writer's closet trying on their clothes and realizing that we're nowhere near the same size for me to be in there at all.

I hope the people who actually rock with me and my writing enjoy The Invitation when I finally release it. It's turning out to be a point of pride for me, and most importantly: the story is about me.

[samueldelany]

Published: this week, January 2025. From Okorafur's website:

Disabled, disinclined to marry, and more interested in writing than a lucrative career in medicine or law, Zelu has always felt like the outcast of her large Nigerian family. Then her life is upended when, in the middle of her sister’s lavish Caribbean wedding, she’s unceremoniously fired from her university job and, to add insult to injury, her novel is rejected by yet another publisher. With her career and dreams crushed in one fell swoop, she decides to write something just for herself. What comes out is nothing like the quiet, literary novels that have so far peppered her unremarkable career. It’s a far-future epic where androids and AI wage war in the grown-over ruins of human civilization. She calls it Rusted Robots.

When Zelu finds the courage to share her strange novel, she does not realize she is about to embark on a life-altering journey—one that will catapult her into literary stardom, but also perhaps obliterate everything her book was meant to be. From Chicago to Lagos to the far reaches of space, Zelu’s novel will change the future not only for humanity, but for the robots who come next.

A book-within-a-book that blends the line between writing and being written, Death of the Author is a masterpiece of metafiction that manages to combine the razor-sharp commentary of Yellowface with the heartfelt humanity of Tomorrow and Tomorrow and Tomorrow. Surprisingly funny, deeply poignant, and endlessly discussable, this is at once the tale of a woman on the margins risking everything to be heard and a testament to the power of storytelling to shape the world as we know it. 

[oleworm]

With white actors, their stereotypes are clear satire, while their authentic portrayals of accents are taken seriously��African accents are not afforded that luxury. Part of the authenticity and grit we’ve come to love in Good Will Hunting (1997) owes to the fact that both Matt Damon and Ben Affleck speak in accents native to South Boston—which successfully shows the importance of class distinctions, Will’s intellectual ability despite his “rough” surroundings, and rooting him in his neighborhood and background even as he progresses to new places and opportunities. Part of the joy of watching Mary Poppins (1964), is the grating sound of Dick Van Dyke’s bizarre “Cockney” accent. Often noted as one of the worst accents in film history, Van Dyke’s character sounded like he came from New Jersey, Australia, but Poppins is a children’s comfort film filled with magic, so audiences are already prepared to suspend their disbelief.  Language, voice, and tone are vital parts of storytelling, but somehow caricature-like portrayals of African accents still manage to win Oscars, while Dick Van Dyke’s “Cockney” failure is an actor’s cautionary tale. This speaks to a larger issue: the hierarchy of occidental languages over languages from the global south, the (lack of) knowledge of African dialects, and a general laziness toward the research required to thoughtfully and effectively learn regional African accents. Alongside my research for this article, I also spoke to Djeneba Bagayoko, a linguist who specializes in African languages and is currently working on a book exploring the similarities in Ebonics and continental languages. When we discussed Beasts of No Nation—no nation indeed, as the film is set in an “unspecified” West African country—Djeneba pointed out the prevalence of guttural sounds and line delivery in a lower vocal pitch. While having a lower-pitched voice is completely within the rights of directors and actors to be a stylistic choice for a character, its unfortunate prevalence goes beyond artistic prerogative and seems closer to laziness or ignorance. Viola Davis’s accent in The Woman King is also delivered in a lower register, with an emphasis on guttural sounds and a sprinkling of that American English rhotic R that would not be present in a West African accent during the 1820s. Winston Duke’s accent in Black Panther (2018) also features guttural sounds, a low pitch, and even Nigerian facets of speech (adding “o” as a standalone sound at the end of sentences), despite the fact that the fictional nation of Wakanda is supposedly located in southeast Africa. Bagayoko rightly asked, “Why, when it comes to Africa, are we all lumped together?” Reducing Western and Southern African accents down to hard, low-pitched noises positioned at the back of the throat perpetuates the idea that African languages are too “other” for any attention to detail. The frequency with which we see this technique reiterates the view of Africans as homogenized and underdeveloped—a colonial perspective.

[gollancz]

Gollancz has signed Nnedi Okorafor’s "tour-de-force", the Death of the Author. Death of the Author is an "exhilarating" story about a disabled Nigerian American woman who writes a science fiction novel that becomes a bestselling phenomenon, but her success comes at a price. Billed as a "sweeping narrative" for fans of Gabrielle Zevin’s Tomorrow,Tomorrow and Tomorrow, the story is "a multi-threaded meta drama examining the relationship between storyteller and audience". 

Okorafor said: “Death of the Author is the most ambitious and naked work I’ve ever written. I’m so proud of it. I’ve been writing it in my head for 30 years. It brings together so many of my many parts, my contradictions, fusions and my weirdness. The title comes from a famous essay by French scholar Roland Barthes, an essay that I’ve always loathed but also chewed on throughout my years working on my PhD in literature. I want readers to come away from this novel with questions, answers, and a refreshed love of what we as human beings are and what we’re capable of. Also, I wanted to tell a really good story.” 

We're so delighted to have Nnedi joining the Gollancz family with this phenomenal, layered and poetic novel. Which also has robots.

[omenalafilm]

Hi! My name is Stephanie Byron-Ene, and I am the writer and director of Omenala (Oh-May-Nah-lah), which translates to "As it is in the land." 🇳🇬 First, I’ll like to give you a little bit of my backstory. I’m Nigerian, from the Igbo tribe, and grew up in Lagos State before coming to the U.S. to study film. My passion for filmmaking started early. At just 10 years old, I would join my father on Nollywood sets at 4 a.m.— often just to hold the actor’s purse — but those experiences deeply shaped my love for storytelling. 🎬👜 I’m so excited to share this story and would love for you to be part of the journey! 🥰

[have-you-heard-of]

Have You Heard Of?

“A man who would be intimidated by me is exactly the kind of man I would have no interest in.”

Chimamanda Ngozi Adichie b.September 15, 1977

Chimamanda Ngozi Adichie is an award-winning author and an influential advocate of feminism. She has captivated people worldwide with her powerful storytelling and her outspoken campaign for gender equality. She was born in Enugu, Nigeria, and was raised in an academic environment that surely nurtured her passion for writing. As one of six siblings she grew up in the university town of Nsukka, her Mother was the first female registrar at University of Masuka and her father was Nigeria's first professor of statistics, and later became Deputy Vice-Chancellor of the same university. She attributes her success in part to her parents for, encouraging her self-confidence and being supportive by always showing that they had confidence in her. She began studying medicine and pharmacy at the university school her parents worked at; though, writing seems to have called to her, as she also edited the magazine created by the medical students. She left her medical studies after a year and a half when at nineteen she gained a scholarship to Eastern Connecticut State University in America, where she graduated summa cum laude (with highest honours) with a degree in communication and political science and continued her passion for writing by producing articles for the university journal. She went on to gain her master’s degree in creative writing from Johns Hopkins University, become a Hodder Fellow at Princeton University, earned an MA in African Studies from Yale University, and she was awarded a fellowship by the Radcliffe Institute for Advanced Study, Harvard University. During this time, she has released numerous novels, including A Feminist Manifesto in Fifteen Suggestions. She holds strong feelings regarding gender equality and is proud of her femininity, taking pleasure in fashion whilst grappling with the knowledge that she will be judged for the way she chooses to dress. Her belief is that you should be happy to be who you are, without being forced into a mould society has decided fits your gender. Refusing to conform to a female academic stereotype, she loves make-up and has been the face of Boots No7 cosmetics. Now married with a daughter, she splits her time between Nigeria, where she teaches writing workshops, and the United States. All in all, Chimamanda Ngozi Adichie is a world-renowned writer, acclaimed academic, fashion icon, beauty queen and a feminist warrior we all should have heard of.

“If you criticise X in women but do not criticise X in men, then you do not have a problem with X, you have a problem with women.”

Books and Novels

Notable Awards and Honors

35 awards, 21 are literary awards, including: Future… Award (Young Person of the Year category), 2008 Global Hope Coalition's Thought Leadership Award, 2018 Action Against Hunger Humanitarian Award, 2018 UN Foundation Global Leadership Award, 2019 Africa Freedom Prize 2020 Business Insider Africa Awards, 'Creative Leader of the Year', 12 April 2022 Influential people lists including: The New Yorker's '20 Under 40', 2010 '100 Most Influential Africans 2013', New African '100 Most Influential People' by Time Magazine, 2015 Fortune Magazine's List of 50 World Leaders, 2017 'World's Most Inspiring People in 2019' by OOOM Magazine Forbes Africa's '100 Icons from Africa', 2021 'Changemakers: 100 Nigerians Leading Transformational Change', 2022

“Teach her to reject likeability. Her job is not to make herself likeable, her job is to be her full self, a self that is honest and aware of the equal humanity of other people.”

Trivia

Her childhood home was one formerly occupied by the Nigerian writer Chinua Achebe

Beyoncé's song, "Flawless," features excerpts from Adichie's TED Talk.

Adichie thought she had invented purple hibiscus & was shocked to receive a call from her editor telling her they existed in America!

[adannamdi]

Ever wondered what it’s like to be a Nigerian writer? Well, I’m here to share my journey with you! Subscribe to my channel and let’s explore storytelling together. ✍️📖

[radarcharts]

Tup Dugg Elevates the Game with New Project: Dugg Business

TSK is better known by his stage name Tup Dugg. He is back to shake up the Rap and Grime scene. His new project, Dugg Business, is highly anticipated. The Nigerian-born, India-based artist has carved out a unique lane in music. He blends sharp lyricism, Grime-infused rhythms, and authentic storytelling. His work resonates across borders. From Confidence Building to Career-Defining Tup Dugg’s…

[theliterarywolf]

I watched Kizazi Moto and I really liked it a lot! One of the things I found especially interesting was the difference in…I want to say emoting? expression? with how some of the characters responded to things. Like with tongue clicking and some hand motions. I thought that was very interesting. Did you have a fave episode?

YES! Finally, someone watched/sent in an ask about this anthology!

And what you said here, noticing the differences in emoting. I am so glad you mentioned that because, yes: African storytelling, particularly when it comes to bringing stories to the big (or in this case, streaming) screen, does have its own style of emoting, staging, and composition.

And, yes, every culture does (for all people meme on Indian soap operas having the 'twenty dramatic zooms with matching music', you can tell that's a modernized carryover from traditional storytelling), but I have been yearning for African stories to be able to be seen by a wider audience so they can be a part of the conversation.

Because, yeah, we have companies like Netflix picking up a few Nigerian and Ghananian movies/shows for streaming, unless you're searching for them or your algorithm is trained, you'll never find them.

Also, shout-out to Supa Team 4

An upcoming CGI animated series from Zambia that is looking like a fusion of Miraculous and DC Super Hero Girls.

But, my rambling aside, for me there were three stand-outs from the anthology.

My favorite cultural-reflection, My favorite spectacle, and My Overall Favorite (kind of like a Best in Show).

My Favorite Cultural-Reflection

And by this, I mean which of the shorts reflected the culture it's creators are from the best (even though it may not have been my Overall Favorite):

Moremi (Nigeria)

(Hate that I couldn't find a gif for this one...)

Before this series aired proper, If you showed me 15 seconds of each short and told me to identify which country they came from, with this one it would have been a no-brainer. The staging and composition are such a strong mirror to Nigerian storytelling, a facet that is made even more obvious when we're introduced to the scientist character.

My Favorite Spectacle

Mkhuzi: The Spirit Racer (South Africa)

The sheer definition of 'Hype'. When I was liveblogging my first time watching some of the anthology, I made the comment 'Who at Triggerfish Studios marathoned Gurren Lagann and Kill la Kill before coming into work that day?!' But, yes, this short was extremely anime, extremely colorful, and extremely action-packed. All while still having a message about maintaining the connection with your ancestors.

My Overall Favorite (Best in Show)

Enkai (Kenya)

Everything about this short, the composition, the color-scheme, the acting, the setting, and the messages are beautiful. While the initial scenes give us the impression of a simple, more intimate story of a mother and daughter, as the story progresses, the audience is presented with themes of family, spirituality, environmentalism, and even a bit of generational trauma sprinkled in (if you know where to look).

In fact, I'm going to discuss the moment that solidified this short as Best in Show for me. Spoilers under the Read More

When Enkai and her mother finally escape the destroyed Earth and Enkai is showing the new world she's made, free of mankind's greed and destruction, her mother has a moment of hesitation and looks back towards the Earth.

Even though the Earth and it's people, the ones who she was trying so hard to protect, have hurt her so much, she still says, "...I can still fix this!"

And Enkai has to be the one to tell her mother, "If we didn't leave, we would never be free from them. They have to save themselves now."

As much as the environmentalist message is there, it also reflects a story of a woman being abused by her family, hurt by her family, and internalizing the fact that she has to stay; she has to take care of her loved ones, only finally being told by the next generation 'No, you have done enough! You have been hurt enough!'

I just... God, the beauty of African storytelling being presented in the medium of modern animation got to me, okay?

[caintooth]

can i get a name opinion?

i am torn between Charlie Moon and Charlie Tadgh.

backstory: when first choosing a new last name I chose Charlie Tadgh (pronounce Charlie Tyge, like the first part of the word “tiger)

Tadgh is a common masculine Irish name meaning poet, philosopher, and storyteller. i really like this name and feel connection to it

i changed it because, sorry if this sounds silly, but i am worried it is hard to remember? having a name that is easily recognizable is important to me for the future if/when i am able to publish my work, and for networking in general!

at the time i was also worried it would upset my dad. i thought picking a name which sounded more traditionally like a ~writer’s pen name~ would make more sense to him. BUT he recently has talked about changing his own full name legally (long story) so obviously he doesn’t have the connection to our last name I was worried he might lol, this is no longer an issue at all

but because those things were both on my mind, i chose the last name Moon back in October. it is short and easy to remember, has a good “oh this person is definitely a writer” vibe to it, has a werewolf theme which is always my jam, and shares a first initial with my legal last name

BUT. i do worry because while Moon can be a white name, it is more commonly a Korean name. i don’t want someone to ever follow me or pick up my work because they think i’m someone i’m not. this is of particular concern during a time when there have been so many white writers caught pretending to be Asian for clout, it is truly sickening tbh. AND if my partner and i get married and hyphen our names, which we want to, then this will become even more of an issue. they have an obviously Nigerian last name, and tbh it could also be mistaken as Asian to people unfamiliar with it.

[zennesamuel]

Nigerian Masquerade, Village Differentiation, and Cultural Education

Igbo and Yoruba masquerade theatre was not something that I had any prior knowledge of, but the craftsmanship of it is something phantasmic. It also serves as a rich testament to the importance of oral traditions and storytelling prioritized over written documentation of ritual. The similarities between Igbo and Yoruba masquerade theater are not lost on me: their patrilinear societies, their celebration of the importance of the ancestors, beliefs in life after death of the physical body, and roots in religion and community as a space for performance. However, what has become most significant in my study of it is the idea of the circle in which ritual, theatrical performance, life on Earth, and life in the Otherworld intersect. Igbo and Yoruba masquerade theater serve the purpose of not only entertainment in villages, but as a vehicle for socialization and education, with the mask as a material representation of ancestral presence, symbolic of the spirits of the community, both in the past and in its current climate. The bridge between the members of these kingdoms and the Orishas cultivates health, protection, and prosperity. I think that one of the things that makes this form of ritual so compelling is its vitality to the overall culture of Nigeria, not in spite of but because of its variations throughout different sections of the country.

[thelensofyashunews]

NIGERIAN PRINCE OF AFROPOP OXLADE RELEASES TRAILBLAZING DEBUT ALBUM “OXLADE FROM AFRICA”

Today,Nigerian superstar Oxlade continues his hot streak by officially releasing his anticipated debut album, Oxlade From Africa, via Epic/Sony Music France. Listen to the album here.

Blending his past, present, and future into an all-encompassing vision, Oxlade From Africa is a bold and expansive 16-track musical and cultural journey that transcends borders, celebrating African heritage from Lagos to the world. With its title reflecting a broad, inclusive vision, the album highlights Africa’s cultures, elegance, and beauty, marking the next step in the Lagos-based artist's rise, showcasing his journey from breakout success to mainstream recognition.

Aiming to continue making Africans proud of their heritage, Oxlade uses his music, visuals and fashion to deliver a powerful message of unity, and is continuing the momentum from his massive global hit ‘Ku Lo Sa’, which has 574 million streams and was certified GOLD by the RIAA this week, and Double Platinum in Canada. The project is also home to recent singles ’Intoxycated’ ft. Dave, both halves of the double ‘KATIGORI/PIANO’ release, ‘Arabambi’ and most recent offering ‘IFA’ featuring Congolese superstar Fally Ipupa.

LP opener ‘Interlude’ features Ugandan political activist and musician Bobi Wine who introduces the album with a powerful co-sign and thought-provoking message, setting a powerful tone with an uplifting message of resilience and African spirit. ‘OLAITAN (Olaoluwa)’ which translates to “the wealth, the favor and the grace of God shall never leave you” in Yoruba, see’s Oxlade reflects on his life journey, embracing a mindset of faith and destiny over a warm and feelgood production. ‘Blessed’ features Jamaican Dancehall legend Popcaan and becomes an instant highlight as they share stories of overcoming struggles, highlighting that despite their youth, valuing your self-worth and positivity is key.

2023 summer smash ‘Intoxycated’ continues to ooze star quality alongside London rap king Dave as they showcase their storytelling finesse, delving into a story of love and the intoxicating traits that come with it. Oxlade’s global breakout hit ‘KU LO SA’ follows. Originally a spontaneous decision before his COLORS performance, the songs heartfelt lyrics symbolizes trust in intuition and the power of seizing opportunities, putting his vocal talents front and centre. ‘IFA’ is a sultry love song infused with Coupé-Décalé and Afrobeats rhythms, as Oxlade reassures his love interest that she is his priority, painting vivid images of devotion with cheeky metaphors, whilst Fally Ipupa’s melodic touch further amplifies the song's seductive energy.

‘Ovami’ features High-life legend Flavour and delivers a harmonious blend of love and unity as Oxlade taps into the rich heritage of High-life music, a sound central to Nigerian culture, making the track a celebration of love in all its forms.Spring single ‘Arabambi’ is the nickname of K1 De Ultimate, an iconic Nigerian Fuji musician and means “the child of the people”, “the community gave birth to this child”, “the one”. The track’s melody, inspired by Miguel’s vocal style, mixes African tradition with modern R&B, creating an irresistible fusion of rhythm, love and pride. ‘Tamuno (Interlude)’ is a spiritual pause in the album, offering a moment of reflection. Named after a deity in Nigerian culture, it serves as a homage to Oxlade’s faith and spiritual journey, laying the groundwork for the more sensual and energetic songs to follow, and ‘ASUNASA (Hold Your Waist)’ featuring Wande Coal offers exactly that. With influences from Wande Coal’s classic ‘So Mi So’, this stylistic offering sees both artists trade risque, Afrocentric verses, merging spiritual undertones with sensual energy to become an instant album highlight.

The P-Prime produced ‘Piano’ is a heartfelt love song that blends the soft hits of a log-drum, piano and drums with Oxlade's signature falsetto and ad-libs that characterises Oxlade’s effortless ability to create romantic anthems. The Sarkodie featuring ‘Ololufe’ is a tribute to the iconic "Ololufe" by Wande Coal, adding a modern twist with influences from Reggae, Dancehall, and Afrobeats. Sarkodie’s hard-hitting verse complements Oxlade’s smooth vocals, creating a dynamic love song that pays homage to African R&B while setting new standards. ‘RMF’ (Rich Motherf*cker) is a declaration of confidence and self-worth, drawing inspiration from Fela Kuti’s vintage Afrobeat sound as the 27-year-old unapologetically boasts about success, luxury, and the journey that got him here.

‘On My Mind’ (OMM) features TOMi Owo & OJAHBEE dives deep into the emotional rollercoaster of love, becoming an ode to first love as it explores the excitement and nervousness that comes with falling for someone. ‘Katigori’ is Oxlade’s manifesto, written during a time when he had fame but was still striving for success. Closing the album, ‘OFA’ embodies

Oxlade in his ultimate form. Again drawing from Fela Kuti’s Afrobeat and blending it with his Afro-Pop style, this track is the culmination of his journey—his evolution into a fully-realised artist. It's a powerful anthem of self-awareness, confidence, and embracing one’s destiny.