A week has passed, we’ve listened, loved, danced, and now, fully embraced ‘Fuji’. What first seemed like an experiment has unfolded into a layered experience, revealing the genius behind Adekunle Gold’s latest body of work. Each track hides a story, a nod, or a surprise as part of a grander rhythm that celebrates both nostalgia and evolution.

The album’s subtle features heightened many’s anticipation. Now listeners know that “Big Fish” samples a record by Lefty Salami, a Sakara music devotee from the ‘60s (the Sakara sound mixed with Apala and Juju laid the foundation for what we now call Fuji, which itself evolved from Wéré music). On “Don Corleone,” sound engineer Simi doesn’t hold back her backup vocals’ glide between verses as she and Adekunle Gold explore self-praise and effortless flaunting in the most enchanting form. 

Then comes “Bobo,” which had already set the tone ahead of the album’s release. Shoday and Lojay paint a vivid scene of wealth and indulgent joy, one that pulls listeners deeper into the album’s core. But nothing prepared fans for 6lack’s appearance. It's a smooth cameo surprise delivered on Bobby Caldwell’s “What Won't You Do for Love” sample titled “Love Is an Action”.  And really, what won’t you do for love?

Lines from “Coco Money” famously took almost a year to clear due to its interpolation of Rihanna’s “Bitch Better Have My Money.” With Rihanna, Travis Scott, and Kanye West all involved in the clearance process, it’s the kind of behind-the-scenes story that reveals how global Adekunle Gold’s reach has become. Meanwhile, “Many People” has quickly gone ahead to become a popular favourite. 

Many listeners believed it sampled Yinka Ayefele’s classic, drawn in by nostalgia. Yet during the Spotify GreasyTunes event, Adekunle Gold confirmed the track was a fresh recording with Yinka Ayefele. The energy continues on “Attack,” an unforgettable track featuring rising star Mavo and alté icon Cruel Santino. “Only God Can Save Me” brings in Davido’s distinctive flair, while “Oba” borrows from Asa’s calm “Iba.” Also highlighting “Simile,” a stirring rendition with the Soweto Gospel Choir.

For Adekunle Gold, “Simile” carries profound symbolism. He shared that the song was initially sent to Beyoncé’s team for the ‘Black Is King’ project. However,  during that period following his father’s passing in 2019,  he wasn’t in the right headspace to follow through. He admitted he quietly hoped they’d reject it so he could keep it. They did, and “Simile” found its true home on ‘Fuji’.

Beyond the sound, Adekunle Gold revealed a hidden trend that ties his discography together. Each album holds a song that introduces the next persona. For example, “Paradise” on his debut album, ‘Gold’ introduced the next project, ‘About 30.’ “Call On Me” was Afro pop and it set the precedent for the tone that ‘Afro Pop Vol 1’ carried. Likewise how “Here For Ya,” “Catch Me If You Can,” and “Ogaranya” laid the groundwork for ‘Fuji’.

Still, the album’s title stoked debate. Some question whether labelling the project ‘Fuji’ distorts the legacy of traditional Fuji music. Others, however, see it differently as a better reinterpretation that modernises the genre without losing its spirit. Adekunle Gold doesn’t claim to own Fuji, instead, he reimagines and broadens it, making space for the old and the new. A week later, the world continues to dance and listen closer.