Adewale Ayuba: If Not Fuji, I Would Have Been a Teacher

For more than four decades, Adewale Ayuba has made an indelible mark on Nigeria’s Fuji music scene, rising from a young artiste to one of the genre’s most distinctive and influential voices. Yet, behind the fame, Bonsue Fuji and decades of musical success lies a different path Ayuba believes he could have taken. The veteran artiste says if not for Fuji music, he would have been a teacher, a profession he continues to hold in high regard and one that reflects his enduring belief that music, like teaching, should educate, inspire and leave a lasting impact. In this exclusive interview with Tosin Clegg, Ayuba reflects on his musical journey, the evolution of Fuji, his passion for teaching through music, the challenges facing Nigeria’s entertainment industry and the legacy he hopes to leave behind. Excerpts

What informed your style of Fuji and how did you come about it?

My style of Fuji is my decision. And I give glory to God about that. Everybody wants to be different so as to have a niche. So, for me, I just want when people hear about Bonsue Fuji music, this is what you would hear from me. You know we have a lot of Fuji artistes, and if you want to be in a position you desire to be, you have to work hard to make a difference for people to know that this is your own style.

You are distinct from other Fuji artistes. What informed that?

You see, we are all different, and particularly, our backgrounds are different too. I see my job as a Fuji artiste professionally, as it is what I do for a living. And I have had a lot of teachings from my parents that if you decide to do this music, you can’t do this or that because they believe that being a musician can turn your life to a different level, so it wasn’t easy for me to start singing. But we had a round-table meeting, like a contractual agreement between me and my parents, before I could do this. So, I had a rule I followed, which is probably what is setting me apart.

When you look back at your journey in Fuji music, what do you believe the younger generation may never fully understand about the sacrifices and struggles it took to build the genre?

There was a time I decided not to sing Fuji music after releasing five albums, and I realised these albums were not being played in the universities, disco halls, and more people didn’t listen to them. So, anytime my friends were doing parties, they would be telling me I was doing ‘Arugbo’ music, as they didn’t know how to dance to it. The background of Fuji music is from Sakara and not really fast tempo, but then I met a producer who guided me. He said if you want your music to be played by the Igbos, Hausas and particularly in the universities, you need to change your style, and that was the beginning. And from there, anytime I want to write my songs, I ensure it is 50 percent English and 50 percent Yoruba, then I changed the tempo a bit.

How important has cultural identity been to your music, and do you worry that some of its original essence could be lost with changing times?

It’s not a mistake for God to have me in Nigeria, and if God wanted me to be an American citizen, no doubt I would be born there. I cherish my culture a lot, and to me, music has no language, just good rhythm and knowing what you are talking about. So, being a Yoruba really influenced my career.

At this stage of your life and career, what does success truly mean to you?

Success for me is legacy, with what you leave behind and even while you are still living. To me, success isn’t the money you have in the bank but more of what you have done to people, especially the impact of your works and behaviour.

Your voice and sound have become part of your identity. How difficult was it to remain original in an industry where artistes are often pressured to follow trends?

Talent was given by God, and how the voice came about, I don’t know, but I do know I was born with it. You know, some people, because of the haste to become popular, start copying other musicians that are well known. But my parents always told me to stay in your lane, and that really has helped me.

What are some of the biggest personal sacrifices you have made for music that your fans may not know about?

It’s been a lot of sacrifices. For example, I was in America for some time because of the Abacha crisis, and after he died in 1998, I came back that same year. I was there for years, and I had left because of the song I did for MKO Abiola about the need for the release of the political detainees. Later, they said they were looking for me then, but I know what I went through with my band boys, and it wasn’t only me because they had to eat and survive. Secondly, people try to put religion with what you do, and it’s in this world we met religion. You can always choose what you want and how to worship your God. Also, playing music in the university was also a lot of price as well as taking it to the disco hall too, but today I give God the glory that I was able to achieve it all.

Do you believe today’s generation of Fuji artistes truly understand the history and responsibility that comes with carrying the genre forward?

To me, they are really tiring, and you can see a lot of Gen Zs coming into Fuji music. But what I want them to know is that what makes Fuji music is the rhythm, which is the drum behind it, and not the voice. They shouldn’t shy away from that, as Sakara, Omele and Apala are the food of Fuji.

Beyond the music, what life experiences have had the greatest influence on the messages you put into your songs?

Since I started working with a producer, he had let me know that your music must say something, as lyrics shouldn’t be for people to just dance to, but you have to lecture, as there must be something there for people to go back and say, I want to listen to this music again. Or a scenario where spouses want to talk to each other or parents want to talk to their children: “Don’t you see what Ayuba said in that album, that if you don’t finish your schooling, this could happen?” So, for me, music is a lecture that you give your audience.

Is there anything you would have done differently in your career if you had the opportunity to start all over again?

I love what I am doing, no doubt, but aside from doing this, I would have been a teacher. For me, Jesus Christ was a teacher. And the level and grace God has given to teachers, you can’t comprehend it. I love to be known as someone that people say, “Ayuba taught me this or that.” It’s only in Nigeria we don’t appreciate teachers that much, as they are the ones who help people to become good persons in Nigeria and the world at large.

What is your relationship with fame today, compared to when you first became successful? Has it changed the way you see people and the world around you?

Before now, you are just praying to ‘blow’ and want people to know your music. After that, you would think you have arrived. Even at times, ego can come into your life, thinking they play me on TV and I’m a superstar. But I thank God I had parents who always cautioned me, and now I think I am mature. You know, some people think that being a superstar, you are too much to have just a single wife in your home, or if they are with one, they are doing her a favour, with talks about other women that want them. So, they look down on these women, but once you start that, your career is gone because it’s not about music and money only, as you still have to be responsible.

Many young artistes are focused on becoming famous quickly. What is the difference, in your view, between achieving popularity and building a legacy?

If you are too much in a haste to get popular or be known, then you can never achieve a good legacy. That is what I know. Because slow and steady wins the race, they say. Firstly, you have to own your own style so that when they play your music, they can connect it to you. If you can achieve that, which isn’t easy to come by, then you have done a lot. Also, your lyrics matter a lot, where people can gain from it and not just dancing to it.

What concerns you most about the future of Fuji music, and what gives you hope?

What gives me hope is that we have just started opening to the Western world, and we are like 5 percent in, and they are looking forward to Fuji music. I just want people in Nigeria, especially the musicians, to quickly grab it, as the door has been opened. Also, they should do the right thing to promote it, and it’s not by your song alone, as character matters. Once you know what you are doing and keep on bearing our name, not that you come from Oluwagbenga to Gbengus because you think that Oluwagbenga is not funkified enough, which are the things that don’t make people appreciate us enough.

If you could sit down with the pioneers and legends who helped shape the path before you, what conversation would you most want to have with them today?

To me, I can say I give them 85 percent pass; why the other 15 is personal and a part of our lives. I would love Fuji artistes to be settled men who believe that marriage is part of life’s blessing. On the other side, you can’t see Fuji musicians smoking, drinking or doing some kind of things openly. We are so calm and humble, but the other side is staying with a wife. So, I always advise: don’t let your stardom come after your marriage.

What informed your decision of one woman only, or is it part of your policies?

For me, I don’t know why you have to marry up to three women because right from the beginning, it was Adam and Eve, which is what God did. See, we have two legs, two hands and everything in twos, so I believe things must be in twos. I’m the last born of my parents, and I never set my eyes on another woman with my father, so it’s what they are doing in my home I focus upon and follow. I believe that is the way, and my music shouldn’t come and affect that.

Tell us about your new album, Arise, and what informed the title?

When I say Arise, it’s centred on doing something different. All the albums I have been doing, we do longer versions, which is 22 minutes on this side and on the other side, as we are not really into singles. I experimented with singles with JazzMan Olofin with Koloba Koloba, so I realised it was good for me to go into that. Arise, that is coming out, is just six songs, which is what they want in the Western world, and this would be the first time I would have an album that is in singles.

Can you give us more insight into your track list on the album?

At times, I start something and don’t know where it’s going to end, but at the end of the day, it’s going to end well. But if you hear the lyrics very well, you would see the poetic flow in my songs. Anytime I take my pen to write a song, I think of what people would gain from the music and not just to listen to it. I have been trying to promote Fuji music all over the world for ages because Fuji is my pride. I digitalised Fuji music to go into singles so it can enter the club world. And I want other Fuji musicians to embrace this, as a tree cannot make a forest.

Was there any reason you didn’t have collaborations on this album?

I would tell you the truth: it’s not that easy to collaborate with people, particularly the Gen Z artistes. When they have their names in bold, thinking they have made it, it’s difficult, as they would think you want them to raise you. Which is what I’m saying about the music industry on the need to be humble and help, because a time would come when God would ask you who did you help, as it is not about you alone. So, we need something that the government can establish to help artistes do things rightly. On this project, we tried two to three people, then realised they were reluctant and taking their time to come on board, so we had to leave them aside.

If you could help refine the industry, what would you like done differently?

I think I want the government to do something that would have coaches talk to people on the positive and negative of being a musician, as well as the dos and don’ts. Also, on what cigarette or Igbo would do in your life, because you are no more a talented artiste if you feel that if you don’t smoke, you can’t sing, which are some of the things that ruin their lives. There is a blessing in the entertainment world, especially music, and they are not tapping anything in Nigeria at all. And I don’t know why the government isn’t looking towards that area but rather focusing on just oil and gas. But hopefully, we would get there.