Oxlade from Africa propels the continuity of the Afrobeats legacy, and No Vagabond can touch this jigga.
In a long overdue and much-anticipated debut album from Nigeria’s Lagos-based and globe-trotting musician, Oxlade, (OFA) presents a portal, bridging generations through sonic renditions and interesting collaborations.
Following a global hit and a few music releases, Oxlade from Africa (OFA) is a saturated body of work that exudes intentional gratitude, witty storytelling, and the conscious manifestation of a young man from the trenches of Surulere to the summits beyond the continent and finally served on a platter of gold.
Olaitan Abdulrahman Ikuforiji, popularly known as Oxlade, has been a melomaniac since I met him in 2016. He has serenaded the world with his distinct vocals and flavorful melodies in songs like ‘Away’ and ‘DKT,’ amongst a plethora of others in his discography.
After his global hit song ‘KU LO SA’ had the world basking in Nigerian pidgin and African rhythms, there is no better time to celebrate this young legend. The album ‘OFA’ stands out as a critically themed african project with collaborative infusions from luminaries Bobi Wine, Fally Ipupa, Flavour, Wande Coal, and Sarkodie.
Oxlade is blessed, and he tells his story as he strenuously situates himself in vintage african masterpieces, refining each track to reflect his journey so far, encompassing his struggles, and victories, without failing to remind his peers that although modest, he is acquainted with his strengths and destiny, and will not be ridiculed and neither should you.
In a conversation with KU LO SA’s Arabambi, I explored the inspiration and journey behind this intoxicating index of records commemorating his euphonious voice and path to stardom.
What substantiated the timing of the OFA release, Why now?
God’s timing and my vision to create a body of work, not just a project. I traveled to London to re-record every song on the album, and I am grateful for people like Spaxx, who executive produced OFA, and Ojahbee, who ensured I maintained the discipline to pace myself and allow this album to come in its time.
There seems to be some intentionality in the compilation of this album. What inspired the title and direction?
The name Oxlade from Africa first existed in 2020 when I hopped on ‘Overdose’ with Dunnie. So, it did not just start today. It also sounded so in tune with my vision and how I could see myself at the time. The name I would call myself if I wanted to introduce myself. It felt prophetic, and I held on to it. Another moment that reinstated Oxlade from Africa into my brand and who I am was an experience with racism in France, and it dawned on me that Africa will always be my home. I got my map of Africa tattoo immediately after I landed in Nigeria. It became sort of an awakening for me to be intentional with embracing who I am in music, fashion, and style and extend that mindset to our brothers and sisters across the continent. There are elements from every corner of Africa in the making of ‘OFA,’ from the producers to the features and even my imagery.
You shook the world with ‘KU LO SA’ and your epic Colors Studio performance. How has the way you make music evolved since then?
I have always been in sync with the higher powers, Jesus Christ and God, and I do not miss prayer sessions with my grandma. When Drake posted ‘Away,’ I understood that my music and talent were beyond Surulere, Lagos, Nigeria. I can make trendy records, but as there are trendy songs, there are timeless sounds, and you need to know where you want to be. So, the likes of Wiz and Burna have shown us the youngins who have always dreamt of making timeless music that it is possible to make conscious music and still connect with people. Afrobeats is beyond vibes and inshallah, which is also why there is a song for every age group and type of consumer.
Listening to OFA gives a glimpse of your life’s journey. What was the most challenging part of making this album and why?
Bringing OFA to life in itself was challenging. To recreate an emotion you have felt before is not easy, and I had to feel every emotion again. I remember recording ‘Blessed’ and having to tap into my innermost gratitude as I recorded in the heart of California while basking in the joy of living my current reality. I was with Dreskull and had no idea Popcaan would jump on the record. For me, sitting with my emotions to record these songs was a challenge, but at the end of the day, that is what we do as artists, sell emotions and have the listeners connect with us, those experiences, and themselves.
What is the theory behind naming your songs like ‘ASUNASA’ and ‘KU LO SA’ literally as they sound off of the African tongue?
The defining moment for me was realizing that nobody will know you if you do not first know yourself. It became imperative for me to title my songs literally to project my origin, who I am, and what I stand for into my music. The same theory applies to the Tamuno interlude in the album. You know, Nigeria is beyond Wazobia, Africa is beyond Nigeria, Ghana, and South Africa you know, but sometimes it seems like people forget that. So, this is one of the several attempts to remind Africans of our origin and embrace who we are as a people and the beauty of our language and cultures.
You are conscious about reflecting the entirety of African music in OFA. What does your role in the Afrobeats movement mean to you?
I am continuing the legacy that legends before me instituted. People died for this movement. I am simply one of the current flag bearers, that is all that matters to me. Position does not matter, impact does. I do not care about being first, second, or whatever. I am playing my part in a movement that is beyond any of us. Afrobeats encompasses our style, food, fashion, music, all of it. It is not just a genre but a movement, and I need to play my part in reminding Africans through music and my style as you see me rocking brands like High Fashion, Free The Youth, and other African-owned brands.
Several songs in OFA reference your love for beautiful Women. Where does that stem from?
We cannot exist without women, you know? They make living things come to life when you think about it. Every man seeks wealth and a woman to feel complete. They are superheroes, and even though we all have flaws, I believe women are exotic beings that should be relished. That is what songs like Arambabi are about. The beauty of African women cannot be overemphasized.
There is a reference to OjahBee in the interlude with Bobi Wine, and is also featured in ‘On My Mind.’ What role does OjahBee play in becoming Oxlade from Africa?
I feel like everybody is as important as Oxlade is to who Oxlade has become, and I am glad I could express his importance in this album. Ojahbee is a key aspect of my story. It feels like divine design, and I do not make fictional music. It is my life in this shit. That is why ‘Olaitan’ is also the first song on this album. It means unending wealth, and I am privileged to have seen the best of both worlds, the lowest lows, and experiencing success.
Your journey is a memorable one that has not been without its Jezebel’s and Nebuchadnezzar’s. How do you handle the trolls and negativity that come with the rise to stardom?
My grandma used to say the bigger the level, the bigger the devil. Even Jesus Christ was crucified for trying to save humanity. Greatness comes with both ends of the stick, so you have to be ready emotionally and otherwise. You also have to be willing to heal because you cannot keep roughing life without embracing the pain and overcoming it. How badly do you want to live your dreams and fulfill your purpose? That drive made me come to terms with the fact that my plan B is music, too. There is no other thing I would be doing with muscle memory other than music. It is my life’s purpose, and I embrace all that comes with it.
OFA represents a pivotal point in your life. How do you envision the future of Oxlade from Africa?
It has always been about letting God’s will be done. I do not want to limit myself to a peripheral vision that does not align with God’s plan for Oxlade. I am never stopping. As I walk into God’s plan, my drive does not shift because I know who I am without anyone telling me who I am. Throughout my journey, as I discover new versions of myself and the realms of creativity, I embrace it all and love to experience life so that I can communicate realistic messages in my music.
With OFA, I had to exceed the bar I had set for myself. In Katigori, you can hear the music legacy I have to uphold. OFA is an era that is part of a continuous journey. This phase is leading me into a new era, a ravenous one. I am already on course for tremendous sounds and collaborations that will outlive me. Steezavelli is here to continue this musical legacy and to stay.
As we wrap up our interesting chat, I experience an epiphany. Oxlade from Africa is a superstar, the transonic arrow weaponized to shoot infectious melodies, lyrics, and sonic vibrations that remind us of our roots, and lunge us into manifesting all that God has prepared for us as a chosen generation and a peculiar people. He has carefully doled out an album that generations to come can listen to, visualize, understand, and appreciate the beauty of African music and what it means to be African.
Enjoy OFA.
