Since the seismic success of KU LO SA in 2022, a debut album had been long overdue. Oxlade — who first broke out with OXYGENE — has steadily carved his name into the fabric of Afrobeats dominance. From turning global stages into sing-alongs to selling out venues across continents, his music has transcended the borders he was born in to reach places he once only imagined. That long wait ended in 2024 with the release of his debut album Oxlade of Africa (OFA), followed by its deluxe edition. But behind the streams and the spotlight lies a deeper story: one of navigating the struggles of being a Nigerian artist, balancing digital success with real-life pressures, and constantly evolving his sound. Now stepping into a more intentional phase, Oxlade is ushering in a transformative new era. In a reflective but determined state — more than a vocalist, more than a performer — he’s an artist rewriting his narrative in real time, with every stage and every risk he takes.

Peniel: I have to give you your flowers. You’re one of the first and few Afrobeats artists to have a major global breakout hit. Did you expect “KU LO SA” would travel the way it did?

Oxlade: Thank you so much. I appreciate you. I mean, we all hope our songs get the global recognition they deserve, but the truth is, you never really know. As much as I wished it would blow, I didn’t expect it to be this big, to break boundaries the way it did. I’m just an optimistic kid always hoping to succeed, but the level KU LO SA reached? I didn’t see that coming. That was beyond me.

Peniel: You’ve been laying the foundation for a minute. Looking back at OXYGENE, which turns five this year, you called it a tribute to yourself. Can you break down the deeper story behind that project?

Oxlade: Oxygene is a double entendre. It’s spelled O-X-Y-G-E-N-E — oxy and gene. The “gene” part represents my fans. That’s what they chose to call themselves; I didn’t even come up with that. And if you remove the “E,” it just means “air.” That project was deeply personal. I’ve been asthmatic since childhood, and that’s why I don’t smoke. People overlook asthma like it’s not serious — but it is. It’s as serious as any other illness. That was my way of telling my story, raising awareness, and turning my struggle into strength.

Peniel: Fast-forward to now — you’re one of the most streamed Afrobeats artists globally. But in this numbers-obsessed age we’re in, what’s your take on charts and streams? Do they really matter to you?

Oxlade: That’s a good question. With all the hits I’ve dropped, I’ve never had a number one in Nigeria. But I’ve had number ones in places like France, Mauritius… It made me realize something: it’s about who you’re talking to. I don’t chase charts. I know that sounds cliché, but the real question is — are you making music for 100 people or a billion people? I’ve got tunnel vision. My goals are bigger than fame. Charts are marketing tools now. Sometimes those positions aren’t even real. Still… who am I to talk? At the end of the day, lock in with your audience. Grow it. Nurture it. I just finished a 40-city tour after my album dropped, and I saw real fans in real life. That’s the true test — not just streams. Can you sell out venues? Can people vouch for you? That’s what matters.

Peniel: You’ve seen both sides of the game — grassroots and global. But when it comes specifically to being a Nigerian artist, what unique challenges come with that?

Oxlade: I’m glad you said Nigerian artist — because that part is crucial. Just being Nigerian alone is a challenge. Before you even enter music, life’s already leading you 3-0.

It wasn’t until I started traveling that I realized in other countries — developed and developing — governments invest in the entertainment industry. There are funds, structures. But in Nigeria? Our government doesn’t care. If anything, they want to shut us down because we have influence and speak out against bad governance. Instead of supporting Afrobeats — which, by the way, is now one of the country’s biggest exports after oil — they’re trying to clamp us.

Peniel: That kind of lack of support really hit during the #EndSARS movement, and I know you touched on it in the Oxlade From Africa (OFA) intro — especially what happened with your manager Ojahbee. That moment felt personal for so many of us. For you, how did you process it all? What helped you stay grounded?

Oxlade: Anything that could numb the pain, to be honest. 2020 — minus the whole #EndSARS movement — was already depressing for the entire nation. There was no movement, there was a curfew. It literally felt like we were back in boarding school, and that kind of restriction stifled my creativity. Imagine being stuck for almost a year and a half, just hoping the world would open up again. It frustrated me — but it also made me lock in and go harder. I had a song blowing up, but I wasn’t making any money from it. There’s nothing more depressing than that. No shows. No endorsement deals. Brands didn’t even want to invest because there was no on-ground marketing happening — nothing to push or promote your image.

What kept me going were the co-signs. People like Drake, and other artists acknowledging my work. Those were the moments that built my social media presence and gave me hope. I’m not saying they made me — but those moments definitely gave me the energy to stay positive and push for more, even when things looked bleak.

Peniel: Looking back from Oxygene to your latest album Oxlade From Africa, if your younger self heard the music you’re making now, what do you think he’d say?

Oxlade: My younger self would say, “You did everything you dreamed of doing.” But my older self would tell that same young boy, “The journey is still long.” Because honestly, when I started music, my biggest prayer was just to hit one million streams. Now I’m pushing a billion. I’m proud of what my younger self aspired to — but my older self? He wants even more.

Peniel: What’s your take on people telling you to make another Ku Lo Sa?

Oxlade: Those kinds of songs are groundbreaking. They’re door-openers. Even labels can’t replicate that kind of run. You have to understand that Afrobeats is still a developing genre. No matter how much noise we make, hip-hop and R&B are still the biggest genres in the world. Country music is still out there. We can’t just replicate stuff like that.

All we can do is keep making the best music we can — what the fans deserve. As for me, I’m not trying to make another Ku Lo Sa. I just want to keep making classic music. Those kinds of songs? They don’t come every year. Sometimes they only happen once in ten years. Only special artists get to do that.

Peniel: You just wrapped a 40-city tour off your new album. Were there any cities where the turnout really surprised you?

Oxlade: Europe didn’t surprise me — the energy there is unmatched. I already knew I had a strong fanbase in Europe. What surprised me was North America and Canada. I can’t even lie. I toured in winter — it was cold as hell. We even had advisers telling us to reschedule. But I sold out shows in Montreal, Toronto. I had a hot flask with me all the time, steamers too. Anyone who came out to see me in that weather? That’s a real fan — a real Oxygene.

Imagine places like Boston, cities I’d never even been to, and I’m selling them out, shutting them down. I did a show in Washington D.C. on the day Donald Trump was elected president. I was still selling it out. If it was Europe, I’d understand — Paris is where my music is streamed the most. But North America? Canada? That one shocked me. I also want to add Germany. In cities like Cologne and Hamburg, I could count how many Black people came to my shows. That told me something: it’s not just the Black community resonating with my style anymore. My niche now is very diaspora. I don’t even think Nigerians in Nigeria are my primary audience anymore. I have a fanbase there, no doubt, but when you compare it to these other places? It’s crazy.

Peniel: This kind of explains your point about people not being able to translate digital streams into real-life crowds.

Oxlade: Exactly. Why are you number 1 today and number 41 tomorrow? A win is a win, yeah, but I want wins I know I earned. Not fluff.

Peniel: Your OFA album had a lot of exciting collaborations — Dave, Flavour, Wande Coal, Sarkodie. Which feature came the quickest?

Oxlade: None came quick, to be honest. Everyone on my album is a big name, and I understand that. I was touring, they were touring. We were all in different time zones. I had specific artists I wanted, and I wasn’t going to settle for less. Sarkodie was the fastest. That’s like my Don. Flavour too — shoutout to Bankulli for making that happen. Dave? That one took me four months. I didn’t have the right connect, but shoutout to Donawon — Tems’ manager — for making it work. It made me believe in myself more. I knew I could achieve anything I put my mind to. It was all God’s timing. I’m just reaping the fruits of my belief and patience.

Peniel: You released the deluxe version of the album with four added songs. Was that always the plan?

Oxlade: I was already working on my sophomore album, but I had these songs that didn’t fit the aesthetic. They belonged in the same sonic world as the first album, so I said, “Why not just put them out now?” If I didn’t, they might never come out. I drop projects based on theme and feeling — so the deluxe had to drop when it did.

Peniel: Ooh, a sophomore album, interesting. So fans can expect a new album this year?

Oxlade: Definitely. You’re getting another album from me this year. No pressure though — I set my own timing.

Peniel: Who’s someone you’d love to collaborate with — music, fashion, videos, anything?

Oxlade: There are a few names. Musically? Lauryn Hill. She’s the greatest female rapper ever, period. Not just a rapper — she’s an artist. The Miseducation of Lauryn Hill is the greatest album on Apple Music history.

Fashion-wise? Before Virgil Abloh passed — rest his soul — we were supposed to link up. He gave me a platform to perform at the LV runway show in Paris. I’m also working on my fashion brand called Grace & Steeze (G&S). It’s not streetwear. It’s something I’m really trying to perfect. So yeah.

Peniel: Sorry, this is an exclusive?

Oxlade: Yeah, an exclusive. These are things I’m still working on. Obviously, I’m trying to be like Flacko, like A$AP Rocky, like Travis Scott. It’s beyond the music for me. It’s a personal package. I’m trying to build, so yeah, why not?

I’m also trying to modify and magnify my theatre artistry skills. I dived into that — acting for some time. I was in the drama department in school and church. So, I’m going into acting also. I’m like an onion with different layers. Man, I don’t like giving out too much. So just watch this space. I’m touching everything I can humanly touch.

Peniel: What’s one collaboration that really surprised you that you’ve done?

Oxlade: Camila Cabello.

Peniel: Hmm, obviously.

Oxlade: The craziest part was… people were dragging me like, “You didn’t need this.” “You don’t do this.” “You don’t do that.” Like, bro, the song has 17 million streams. Like, I don’t need 17.6 million streams? Are you shitting me?

Peniel: Some people push back on Afrobeats artists collaborating across genres or styles, especially with international stars. What’s your take on that kind of criticism?

Oxlade: I don’t understand how Nigerians are gatekeeping a genre that’s still a baby in the leagues of genres. If Rema didn’t do that collab with Selena Gomez, how would we have the most streamed Afrobeats record of all time? We need to be optimistic and allow change.

Peniel: Looking ahead, what does success look like to you now? I imagine that definition has evolved—from hoping for a million streams to now chasing something much bigger.

Oxlade: Success now is fulfilment—moving forward without fear of what the future holds. It’s generational wealth, peace of mind, being able to afford anything at any time. It’s making music on my own timeline… hmm, I dey spazz, no worry.

Peniel: When you’re not Oxlade—the artist, performer, the brand—what keeps you grounded? What’s your quiet space?

Oxlade: Me and my boys… my grandma. That love for my grandma. Football too. You know, it’s all madness when we’re out there being Oxlade, but when the cameras and spotlights are off, it’s quieter. I get to be myself around my people. There’s more to me than the music, but some things are meant to stay private.

Peniel: You’ve had moments of global recognition, heartbreaks, protests, healing… what part of that story haven’t you told in your music yet?

Oxlade: I feel like the music will reveal what I haven’t spoken about yet. I’d rather let the verses do the talking than explain it with words.

Peniel: Even with all these years and success, do you think there’s still something people misunderstand about you or your music?

Oxlade: The biggest misunderstanding is people calling me just a vocalist, without realising I’m also a poet and a lyricist. I drop punchlines, I bring depth to my music. People get drawn to my vocals but miss the message behind them.

Peniel: If you weren’t doing music right now, what would Oxlade be doing?

Oxlade: Definitely something in the arts. Maybe acting, sports analyst, broadcasting, press, or law, or history… but that last one, I don’t want to mention (laughs). Acting for sure.

Peniel: Musically, is there something you’re experimenting with right now that fans might not expect—something outside your usual sound?

Oxlade: There are no boundaries for Oxlade’s sound. I’m always making unusual stuff. But I’m leaning back into my strength—that pop and R&B era. Ox & B took me back to my roots—merging ancient sounds we grew up on with current ones. It’s like blending two timelines through music.

Peniel: If this were the last interview you did for a while, what’s one message you’d want to leave your fans with?

Oxlade: I dey comeeee (laughs). I’m coming in hard. People messed with my mental health, and there’s a lot to sing about… that’s all.