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Adekunle Gold’s ‘Fuji’: Ambitious Experiment That Redefines, but Doesn’t Fully Capture Traditional Fuji
Adekunle Gold’s sixth studio album, Fuji, released on October 3, 2025, carries a bold promise: to pay tribute to the legendary Yoruba music genre while blending it with his signature Afropop sound.
The title itself evokes rich cultural heritage, recalling the energetic, percussion-driven performances of Fuji legends like K1 De Ultimate, Saheed Osupa, and Adewale Ayuba.
Fans hoped for an album steeped in traditional Fuji vibes — storytelling, layered rhythms, and communal call-and-response.
From the first track, Big Fish, it’s clear Adekunle Gold is aiming high. The short opener bursts with energy, setting a confident tone that continues through Don Corleone, Bobo, and Coco Money. These songs highlight the singer’s flair for ambition and pride, pairing Lagos-inspired beats with polished vocals. While vibrant, the tracks lean more toward Afropop bravado than raw Fuji authenticity.
Midway, the album slows into smoother, reflective territory. Believe, a nod to Bill Withers’ Just the Two of Us, and songs like My Love Is the Same and Love Is an Action featuring 6lack showcase Adekunle Gold’s softer, emotional side. He balances rhythm and melody, offering moments of intimacy and contemplation.
Many People, featuring Yinka Ayefele, stands out as the closest nod to traditional Fuji. With celebratory energy reminiscent of owanbe parties — lively percussion, dancing, and communal joy — it’s the track that most directly channels Fuji’s spirit. The closing sequence of Attack, Only God Can Save Me, Lailo, Oba, Simile, and I’m Not Done builds toward a reflective finale with Obimo, emphasizing emotional depth over traditional genre fidelity.
Adekunle Gold has also explained that Fuji is more than a musical style — it’s a symbol of identity and personal growth. The title doubles as an acronym: Finding Uncharted Journeys Inside, signaling self-discovery and evolution. However, this conceptual layer wasn’t heavily promoted, leaving many listeners expecting a purer Fuji experience.
The album’s major shortcoming is its distance from traditional Fuji collaborators. The absence of genre veterans means the tracks never fully capture the unpolished, street-rooted energy that defines Fuji. Even the visuals sparked debate; the red cowboy outfit on the album cover diverged sharply from cultural symbols like agbada, aso-oke, or coral beads that fans associate with Yoruba heritage.
Fuji is undeniably ambitious, merging global sounds with Nigerian identity. It reflects Adekunle Gold’s willingness to experiment and push boundaries. Yet, as a homage to Fuji music, it only scratches the surface, offering a reinterpretation rather than a full immersion. The album succeeds as a creative statement but falls short of honoring the traditional depth its title promises.
Ultimately, Fuji confirms Adekunle Gold’s fearless approach to music — bold, polished, and innovative — even if it doesn’t fully satisfy Fuji purists.
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