By Ibrahim Kegbegbe
The Fuji music industry, a genre rooted in the deep cultural tapestry of Nigeria’s southwest, has long been dominated by a few towering figures who seem eternally engraved in the genre’s hall of fame. For decades, the throne has been shared by King Wasiu Ayinde Marshal (KWAM1), Wasiu Alabi Pasuma (Oganla), King Saheed Osupa (Oba Orin), and Sule Alao Malaika. These icons not only shaped the genre but also stamped an unbreakable seal on who stays at the top — leaving little or no room for new stars to ascend.
In the late 1990s and early 2000s, Fuji saw the emergence of promising artistes such as Remi Aluko, popularly known as Igwe, and Taye Adebisi, widely referred to as Currency. They brought fresh energy and street appeal but remained under the long shadows cast by the aforementioned legends. Their fame, though remarkable, never transcended to the international heights of KWAM1 or Pasuma, whose global tours and expansive discography made them household names among Nigerians in the diaspora.
Today, the Fuji landscape is even more challenging. Unlike Afrobeats, where platforms like Don Jazzy’s Mavin Records and Olamide’s YBNL have continually incubated fresh talent like Rema, Ayra Starr, Fireboy DML, and Asake, Fuji remains steeped in an old-guard mentality. The genre’s growth is stifled by an unspoken hierarchy where the top rarely lends the spotlight to the upcoming.
This is why the emergence of Alhaji Tiri Alamu Leather as a reign-of-the-moment artiste marks a pivotal turning point.
Tiri Alamu Leather, a protégé of Wasiu Alabi Pasuma, has done what many thought was no longer possible in the Fuji industry: he broke the yolk. His performances—energetic, authentic, and rooted in the cultural essence of Fuji—have become viral sensations. Across major concerts, local parties, and online platforms, his name is now chanted with pride by a younger generation of Fuji lovers and music enthusiasts who have long craved a new star to champion.
This moment should not be taken for granted.
Tiri Leather’s rise is not merely a personal achievement—it is a symbolic shift. For the first time in years, a new Fuji artiste is being nationally and even internationally recognized beyond the traditional base of the genre. This acceptance signifies that the global Fuji audience is ready for evolution.
However, sustaining this breakthrough requires collective effort.
The big four—KWAM1, Pasuma, Osupa, and Malaika—must come together and publicly endorse and promote Alhaji Tiri Alamu Leather. It is not enough to mentor in private or offer advice behind closed doors. They must share the stage, feature him on their albums, mention him in interviews, and bring him into the elite Fuji circuit. They must help build his international image the same way Don Jazzy and Olamide have done for their younger colleagues.
This is not about ego or competition—it’s about the survival and relevance of Fuji music in a rapidly changing global music ecosystem.
In recent years, critics have voiced their frustration that Fuji music lacks a pipeline for emerging talent. Many have labeled the genre a closed circle where established names refuse to yield space or promote upcoming artistes. This negative perception has caused Fuji to lose traction among younger Nigerians, many of whom are turning to Afrobeats as their cultural soundtrack.
Alhaji Tiri Alamu Leather presents an opportunity to change that narrative.
He represents a bridge between the old and the new, a beacon that proves Fuji is still alive, relevant, and capable of adapting to contemporary tastes while preserving its rich heritage. But without proper industry support, his rise could be a fleeting moment in history—another near-success story in a genre known for silencing new voices.
If Fuji must survive, if it must reclaim its place in the hearts of Nigerians and global music lovers alike, then the old guards must champion the next generation. They must start by standing behind Alhaji Tiri Alamu Leather.
Let his success be our collective project. Let his voice be the future of Fuji.
