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Expectations were high for Adekunle Gold’s sixth studio album, Fuji, released on October 3, 2025. With a title as culturally loaded as “Fuji,” many anticipated a project deeply rooted in the genre’s traditions, from energetic percussion and call-and-response vocals to collaborations with Fuji legends like K1 De Ultimate, Saheed Osupa, Adewale Ayuba, and others. These elements, if present, would have elevated the album into a true homage to the genre.
The 15-track project opens with a confident display, reminiscent of the grand entrances typical of Fuji veterans. “Big Fish” sets the tone beautifully with a breathtaking 30-second introduction, offering a thrilling glimpse of what’s to come. This energy carries into tracks like “Don Corleone,” “Bobo,” and “Coco Money,” which pulse with pride, affluence, and the unmistakable rhythm of hard-earned triumph.
Other songs on the album include “Believe,” a reimagining of Bill Withers’ classic Just the Two of Us, followed by “My Love Is The Same”, “Love Is An Action” featuring 6lack leading into “Many People” featuring Yinka Ayefele which is one of the standout moments that evokes the vibrant atmosphere of an owanbe party, the kind where everyone is well-fed, drinks are flowing, and the dance floor is alive with joy.
The album then flows through songs like “Attack,” “Only God Can Save Me,” “Lailo,” “Oba,” “Simile,” and “I’m Not Done,” before closing with the soulful “Obimo.”
From his breakout as a lover boy who told heartfelt stories, Adekunle Gold has continually evolved, reinventing his style and sound with each project. With Fuji, he attempts to bridge his artistic evolution with a celebration of Yoruba musical heritage.
Upon the album’s release, he urged listeners to “listen in order, no skips,” to fully experience the journey as intended from start to finish. We did just that, and here’s what we think: Adekunle Gold explained that naming the album Fuji carried deep significance: “Fuji is bigger than music. It is Lagos, it’s street royalty, it’s our story, our hustle, our heritage turned global.”
While the sentiment is powerful, the sound doesn’t quite live up to that weight. For an album that aims to reinvent and celebrate the richness of the Fuji genre, the absence of collaborations with actual Fuji artists feels like a missed opportunity. Their presence would have given the album a more authentic texture and rooted it more deeply in the tradition it seeks to honour.
He also revealed that Fuji is an acronym for “Finding Uncharted Journeys Inside.” It is a creative concept that hints at self-discovery and exploration. However, this alternative meaning was barely promoted, leaving many listeners to associate the title solely with the original Fuji genre. This gap between intention and presentation adds to the album’s mixed reception.
The expectations extended to the album cover as well. A more culturally resonant aesthetic such as Adekunle Gold dressed in the finest lace or aso-oke, adorned with jewellery would have better embodied Fuji’s identity as a Southwestern genre that represents the people and their heritage, not a red cowboy outfit.
Nonetheless, Fuji is a strong addition to Adekunle Gold’s discography and showcases his ambition to push creative boundaries. However, as a tribute to the Fuji genre, it doesn’t entirely deliver on its promise. It’s a bold effort, but not quite the acclaimed Fuji album many anticipated.
