Fuji music, a vibrant and culturally rich genre, has been a cornerstone of Yorùbá identity in South-Western Nigeria for decades. Originating from Islamic devotional traditions, it has evolved into a dynamic musical force, blending indigenous rhythms with contemporary influences. Today, Fuji’s legacy continues as a new generation of Afrobeats artists infuses its essence into modern sounds, ensuring its relevance across generations. This article explores Fuji’s origins, its expansion, and its resurgence in today’s music scene.
Origin of Fuji Music genre
Fuji music has served as an integral part of Yorùbá culture in South-Western Nigeria for over three decades, intricately documenting the lifestyle, struggles, beliefs, philosophies, and collective identity of the Yorùbá people. Rooted in tradition yet dynamically evolving, this genre functions as both a cultural archive and a vibrant medium of storytelling, resonating deeply with communities across Nigeria and beyond.
The origins of Fuji music can be traced to Were music, a percussive and vocal style traditionally performed during the Ramadan period to wake Muslims for pre-dawn prayers. However, Fuji’s meteoric rise to prominence is credited to the late legendary musician Sikiru Ayinde Barrister, widely regarded as the genre’s founding father.
Barrister revolutionized the sound in the 1960s by blending Islamic devotional melodies with indigenous Yorùbá rhythms. He coined the term “Fuji” after encountering a poster of Japan’s Mount Fuji at an airport, drawing inspiration from the mountain’s grandeur and the enduring legacy he envisioned for the genre. The name symbolized the heights he wanted this music to reach.
Over the decades, Fuji has undergone transformational phases, with pioneering artists shaping its evolution. What began as a Ramadan-centric musical tradition gradually expanded into a genre embodying cultural pride, social commentary, and communal celebration. Central to its identity is its unwavering use of the Yorùbá language, which preserves linguistic heritage and fosters a profound sense of belonging among its audience.
The Yorùbá people, one of Nigeria’s largest ethnic groups (constituting approximately 21% of the national population), see their values, humour, and worldview reflected in Fuji’s lyrics. This linguistic authenticity, paired with rhythmic complexity, has cemented the genre’s role as a sonic symbol of South-Western Nigeria. Barrister’s assertion, “Music is the heartbeat of a nation, and Fuji is the rhythm of our heritage,” underscores its dual role as entertainment and cultural resistance.
Beyond its musicality, Fuji emerged as a vehicle for advocacy during Nigeria’s turbulent social and political climate in the 1960s and 1970s. Visionaries like Barrister and Sikiru Adepoju infused their lyrics with candid reflections on inequality, governance, and societal aspirations, mirroring the revolutionary spirit of Fela Anikulapo Kuti’s Afrobeat movement.
Fuji’s allure extends beyond its lyrical depth. Its performances are multisensory, characterized by the use of traditional instruments like the gongon (a double-headed drum) and the ṣẹ̀kẹ̀rẹ̀ (a beaded gourd), which blends with melodies. Live shows often feature artists adorned in luxurious, custom-tailored agbádá robes delicately stitched with elaborate detail on the caps, symbols of status and Yorùbá artistry. These performances dominate social gatherings, weddings, carnivals, and festivals, where musicians deliver oríkì (praise poetry) to honor attendees, supporters, and even themselves, blending humility with theatrical flair.
Fuji Music Expansion
As the Fuji genre continues to grow and expand worldwide, we have seen a new generation develop an appreciation for music inspired by it. K1 De Ultimate, who is often said to have received the anointing from the pioneer Fuji musician Sikiru Ayinde Barrister, has kept the fire burning for Fuji music alongside other artists in the genre.
K1 De Ultimate’s significant role in keeping the torch burning has profoundly influenced generations of music makers in Nigeria. This ranges from early artists who blended the vibes they absorbed from Fuji with the Western hip-hop they heard, one of the first legendary collaboration of this mix was between Remedies and Pasuma on Jealousy, then Raise The Roof by Jazzman Olofin and Adewale Ayuba, 9ice and Pasuma on Ati Je Lo . These songs demonstrate the mixture Afrobeats and Rap was about to have with the Fuji genre.
Mainstream hits in the late 2000s and early 2010s were also influenced by Fuji, from Olamide’s Anifowose, to Dammy Krane’s Gratitude, Odunsi The Engine Fuji 5k, Razaq El Toro & Idris Lawal Lo-fi Fuji . In recent years, we have seen more Afrobeats artists infusing Fuji and its elements into their songs, with some even blending it seamlessly with Afrobeats. Two standout acts leading this wave are Seyi Vibez and Asake.
New Generation of Afrobeats Artists infusing Fuji Music
Seyi Vibez, known for his street-pop anthems that motivate the “streets,” has also showcased his creative versatility by embracing Fuji music. A prime example is Fuji Interlude, a track from his 2023 project Vibe Till Thy Kingdom Come, where he fully immerses himself in the genre. From his vocal cadence to the use of carnival-style Fuji instrumentation reminiscent of what one might hear at a proper Yorùbá party or a New Year’s celebration in the streets of Mushin or Bariga, the track captures the essence of Fuji. The backup singers, a classic element of Fuji music’s recipe, further amplify its authenticity.
Another Afrobeats artist deeply connected to the Fuji genre is Asake. He has never shied away from his love for Fuji music, and his incorporation of Fuji elements into his songs makes it clear that he grew up surrounded by the genre’s influence.
On his latest album, Lungu Boy, Fuji music found its place among the Afrobeats bangers, mid-tempo grooves, and mellow tracks. The standout Fuji-inspired song, Fuji Vibe, is spectacularly energetic. This track solidified Asake’s potential as a future Fuji music creator, having already teased it before during his live shows, where audiences and online communities enthusiastically received his Fuji-infused performances. His hands-on involvement in the production of Fuji Vibe highlights his dedication to bringing his Fuji-inspired vision to life.
Additionally, Asake sampled the classic Fuji hit Raise the Roof by Jazzman Olofin and Adewale Ayuba on his smash single Active, featuring an American rapper, Travis Scott. This further highlights how Fuji’s essence is soaring within Afrobeats and how its infusion is driving the genre’s resurgence.
These songs have made Fuji music incredibly appealing to younger listeners, alongside mainstream Fuji hits like Adewale Ayuba’s Koloba Koloba (a 2024 viral sensation), Ade Ori Okin by K1 De Ultimate, and many others.
As these artists and others continue to weave Fuji into their Afrobeats creations, the genre is reclaiming its prominence. The resurgence reached new heights when legendary Afrobeats hitmaker Wizkid opened his latest album, Morayo, with Troubled Mind, featuring vocals from K1 De Ultimate. Hearing the Fuji legend hail him in the traditional Fuji style served as a powerful bridge between Fuji and Afrobeats, proving that the fusion not only works but thrives.
Fuji music’s journey, from its Islamic devotional roots to its modern-day fusion with Afrobeats showcases its resilience and adaptability. As a cultural treasure, it continues to evolve while staying true to its Yorùbá essence. With trailblazers like K1 De Ultimate preserving its legacy and new-wave artists like Asake and Seyi Vibez reinventing its sound, Fuji remains a vital genre in Nigeria’s musical landscape. Its ability to connect generations ensures that its rhythm, storytelling, and cultural pride will endure for decades to come.
