The year 2024 is arguably one of Afrobeats’ more forgettable years. For all the endless releases, projects, and local and cross-cultural collaborations, it was mostly a blip that paled in comparison to the highs of past years. The year struggled to produce defining hits—save for a few—or usher in a new generation of breakout stars, a lull still being discussed in hindsight. Even so, there were a handful of artists who rose from the ruins of the year, and Fido, who more or less staged a home run in the year’s last quarter, can make a strong claim as the leading act from the bunch. 

Before Fido released “Awolowo” in August 2024, he was largely a relatively unknown artist. But his candid celebration of his hedonistic indulgence and resolve to persist despite cautions, layered with irresistibly catchy hooks and chant-like calls, first caught on like wildfire on TikTok before spilling into mainstream rotation. Its inescapable pull saw it peak on Nigeria’s Spotify Top 50, cementing its place as a chart-defining record with over 900k Shazams and 200m streams globally. This momentum was amplified by the unparalleled vocal prowess and signature flair Tiwa Savage delivered on the remix released in November.

If “Awolowo” was Fido’s grand entrance into Afrobeats’ upper ranks, the arrival of “Joy is Coming” in December was the emphatic stamp of a star in full ascent. True to its title, “Joy is Coming” carried the promise of better days. With its pristine chorus, it became an anthem for a people who live for the hope of it all, especially in the culmination of the most economically difficult years for many. The track went viral, dominating airwaves within and beyond Nigeria, and held the number one spot on the Official Top 100 for an incredible six consecutive weeks, the longest reign of any song since the turn of the year.

Following the back-to-back hit streak that closed 2024 in his favour and a rather controversial spat with a faction in his camp, Lagos-born, Ogun State-raised Josiah Olayemi Awosika has raised the stakes with the release of his debut project, Olayemi, an eight-track EP named after himself.

“It marks the beginning of a fresh chapter for me, for the Mr Fido brand,” Fido tells BSide over a Google Meet conversation a few days after the EP’s release.“I just had to let people know that this is who Fido is and can be in an extended run.’’

A musician’s debut project is often the first big statement that unpacks their sound, identity, and style with enough depth and coherence to leave a lasting impression. It’s essentially an opportunity for a formal creative introduction. While some artists make this foray with LPs, EPs have also worked as official entries, often arriving on the heels of breakout singles. Fido’s first instalment is no different. In his words, “Olayemi is my proof, and I’m glad the whole world can bear witness,” he says, radiating complete confidence in the effort he put into the project.

It takes such a level of confidence to break the duck with an eponymous project. And for Fido, the audacious move was a necessity.  “Fido is Olayemi, Olayemi is Fido. This is who I am, my story, upbringing, struggles, [pleasures] and all; I needed people to know that, so titling the project my name seemed perfect.”

The EP opener “Dollarpor” finds Fido revelling in the vastness and boundlessness of his wealth. “Owo mi plenty gan-an, like an ocean, e no fit empty gan,” he sings, before sliding into “Omo Ologo,” a track that toasts his resilience and rise to stardom in the face of doubters and naysayers. “Joy is Coming” earns a fitting spot in the lineup before the street-savvy, dancehall-leaning “Lungu” and “Boko” infuse the groove and heat. The earlier released “Money Moves” wears his animated ad-libs with ease, while “I Miss You Die” trades his streetwise bravado for vulnerability, delivering one of the project’s most emotional performances. The anticipated “Joy is Coming” remix with Kizz Daniel closes the EP on a triumphant note.

No two projects spring from the same well; even from one artist, the process of ideation and creation is cut from different cloth. For Fido’s debut, the creative process was stripped down to the essentials. “Creating the project didn’t involve anything special, honestly. It was just me and the producers locking in at the studio, listening to beats, merging ideas. Thankfully, I already had some songs recorded, so it was a smooth experience for me,” he revealed. 

Behind the booth, production duties were largely handled by Iyke Elvis and Choke Boi, each delivering two tracks apiece. Iyke, being the producer also behind Fido’s breakout single “Awolowo’’ inevitably sparks curiosity about the duo’s creative rapport. 

“Iyke and I are good friends. We started this journey about four or five years ago, and we have been doing great together,” Fido shared. “He’s my guy. He’s my friend. It has been easy and amazing working with him. We still have a couple of tracks together that are yet to drop, and when they do, they are going to hit hard.”

Afrobeats’ global glow has only widened the space for artists to bend and stretch it. As the sound keeps shifting, some, like Burna Boy and BNXN, lean into language and terms—specifically Afrofusion—that reflect its built-in fluidity, framing their work as something both rooted and borderless. These artists treat Afrobeats as a base camp, venturing into different sonic territories before returning with something new to add to the collective sound. Fido slots easily into this lineage. “Afrofusion is a branch of Afrobeats,” he explains. “It is a unique sound that captures our culture, essence, language, and everything we are.” 

Within Afrofusion’s wide embrace lies a blend of rhythms and textures, from Afropop and amapiano to highlife, hiphop, R&B, afroswing, dancehall and many more. The specific sounds contained within it are entirely dependent on the creator’s vision. Fido, for instance, identifies his personal formula as a mix of several contemporary genres which include “Afrobeats, trap, dancehall, R&B — but it still feels natural and true to its roots.”

With Olayemi, Fido’s genre-blending instincts shone through. Though not a flawless work of art, its runtime carried a pulse compelling enough to cement his stake in the genre’s present and future. And as his career continues to unfold, one thing Fido is committed to protecting is his name. “The brand, Fido, and my name, Olayemi —these are the foundations of my artistry at the moment.”