My Life In Nollywood: Tolu Obanro

Every week, The Culture Custodian grants you an all-access backstage pass into the lives of Nollywood rock stars. You get to learn about their fascinating backgrounds, the behind-the-scenes stories, and more. This episode features film score composer and sound designer, Tolu Obanro.

Born in Kwara State, Tolu Obanro spent his formative years between Lokoja, Kogi state where he had his secondary education and Minna, Niger state where he studied Geology at the University of Minna. Like most kids back then who craved a place in the so-called prestigious science disciplines, he initially wanted to become a doctor even though he did not study enough. In his teenage years, he began playing the piano, showing early signs of musical talent, and had relative freedom to move around and make music. Appearing to be initially oblivious to her son’s pursuit, his mother often worried about his arriving home late, mildly consoled by the fact that he did not keep bad company or engage in petty crimes.

One day, during an album lunch at a church service, Obanro’s mother found out that her son had produced all the songs, which was an eye-opening experience that further strengthened her faith in the youngster’s talent. It seemed like the licence needed for him to explore his interest beyond the boundaries of his state. He had a mentor, Mrs Uchenna, who had grown fond of him and would fly him around different states to perform, sometimes just to play the national anthem. With time, he found himself frequenting Lagos and Abuja. This was particularly common in his undergraduate days whenever there were strikes.

Setting out as a gospel music producer, Obanro worked with a couple of artists in the industry, including producing several of Mike Abdul’s songs. He then evolved into sound design, with his focus on advertisements, and soon got into handling sounds for Nollywood films. So far, Obanro has worked with several filmmakers in the industry, including notable names such as Funke Akindele, Niyi Akinmolayan and Femi Adebayo. His filmography includes Prophetess (2021), King of Thieves (2022), Battle On Buka Street (2022), Gangs of Lagos (2023), House of Secrets (2023), Jagun Jagun (2023), A Tribe Called Judah (2023), Seven Doors (2024), Lisabi: The Uprising (2024), Everybody Loves Jenifa (2024), Queen Lateefah (2025), The Party (2025), Makemation (2025), and Red Circle (2025) on which he is credited as film score composer, sound designer, or both. He is the latest Africa Magic Viewers Choice Awards (AMVCA 2025) Best Music Score winner for his work on Seven Doors, a film series produced and directed by Femi Adebayo.

This interview with Tolu Obanro has been edited for clarity.

Let’s circle back to your win for Best Music Score at the 2025 AMVCA for Seven Doors. Congratulations again on that! How would you describe your general experience of working on the project, reflecting on any challenges it posed?

Thank you. I worked on both Seven Doors and Lisabi around the same time. Seven Doors was different. At first, I was not sure how to approach it because I was already working on something else entirely. I had to take a break from the work I was doing at the time and give serious attention to Seven Doors.  Working on Seven Doors was stressful to us because we had a couple of ups and downs and sudden changes that affected the sounds. But that was just it. There were no challenges for me in working on the sounds themselves.

Tell us about your journey into the Nigerian film industry particularly how you became the go-to film score composer and sound designer.

I started out producing gospel songs. Some of them became quite popular, like You Are God, You Are Not Just Big o… After a while I began experimenting with sound design for adverts, just short 45 second clips. Later I got projects from FIRS, cleaning dialogues week after week for about three years. That process of dialogue cleaning, editing and mixing really shaped my foundation. From there, I met and got film opportunities through Dr Bayo. He would send me projects like King of Boys, Your Excellency, Man of God and later Prophetess. That was how I started. By the time King of Thieves came along, people began associating me with the music and sound. Eventually I handled projects like House of Secrets completely on my own, from dialogue to foley, SFX, sound design and final mix. That was when people began to really recognize my sound.

You also once worked in the oil and gas industry, which is very different from film and sound. How did the shift from that to your current career happen?

Yes, I worked briefly in oil and gas, but my passion was always in sound and music. I studied Geology at the University of Minna. The discipline from Geology may have helped me in some way, but I knew where my heart truly was.

When you are contacted to score a film or handle the sound design, how do you usually prepare and plan for the execution, and what tools do you work with?

It begins with the script. If I know early enough that I will handle the sound and music, I study the script and suggest things that will make the work easier and stronger. I also like being on set. On Jagun Jagun, for example, I insisted on being present. I picked up sounds directly and created the trailer soundtrack while the film was still being shot. That was the first of its kind and it worked beautifully. Being on set allows me to talk with directors, suggest ways to leave space for sound, or rethink scenes to heighten the experience. Many Nigerian directors are open to such ideas, and it makes the work better. My goal is always to give my sound intensity and identity so that when people hear it, they know it is me. I build every one of my sounds from scratch. On Seven Doors, people thought those big sounds came from abroad, but I played everything live, starting with the piano and layering track after track. Sometimes I sample instruments like violins, but I still play them myself. It takes time, but it keeps the work original.

To what extent does the genre of a film influence your approach to scoring and sound design, especially when comparing your work on drama-comedies like Battle on Buka Street and A Tribe Called Judah, among others with epics like  King of Thieves, Lisabi and Seven Doors?

In the beginning, I had the opportunity to help define the sound for Nigerian epics, starting with King of Thieves. That experience showed me how much genre shapes sound design. To do something different, you first have to understand what makes a genre distinct. Sometimes films look modern but sound epic or classical, which feels intrusive because the sound does not belong. It is important to consider both genre and period. Scoring a film set in 1901 with 2025 music, for example, does not work. In Ginger, though set in 2025, the opening voiceover recalls the 1990s, so the music reflected the rhythms of that era. Seven Doors spans two timelines, so the score alternated between blending and distinguishing them. That is why, whenever I approach a film, I first ask myself the questions: What is this film? Where and when is it set? What is it saying? Once I understand that, I can experiment within context. For Ginger, the futuristic setting allowed me to mix Amapiano, rap, and traditional epic sounds because the story supported it. Above all, the sound must elevate each scene while staying true to the world and genre of the film.

How would you describe your leadership role in the music and sound department of Anthill Studios, which is a reflection of your working relationship with the creative director Niyi Akinmolayan over the years?

That was a partnership. I was not the head of Anthill Studios as a company. I only led the audio post-production for specific projects. So for a film like Jagun Jagun, I was head of the audio post-production for that project, not the studio itself. My collaboration with Niyi Akinmolayan began with Prophetess. From there we continued working together. The same has been true with Jade Osiberu and Funke Akindele. I have worked on all their films. It has been a professional collaboration that has been very rewarding.

This year, you’ve been credited on projects like Makemation, an AI-themed film, and Red Circle, both of which gained traction in cinemas. How would you say your approach to these recent projects differs from your earlier work?

Aunty Toyosi and I had been talking about Makemation for almost two years before production started. This may not show directly in the intensity of the sound, but it definitely shaped the sound of the film. In Makemation, you will notice that every sound design choice and every piece of music was carefully thought out, from the Hausa songs to the Igbo songs, everything was intentional. I also insisted that everyone who contributed songs used AI as an assist in their writing, since it was an AI film. That way, when someone asks how we worked on an AI-themed project, we can confidently say that AI also assisted in the creation of the music. When I mentioned this idea to Aunty Toyosi, she was excited, and from there we held countless meetings that shaped the overall sound and sound design of the film. Because of my work on this film, I have received international offers and jobs from outside Nigeria. Red Circle is made by Nora Awolowo, who is an incredible executive producer and a close friend of mine. While working on this film, Nora and I had a lot of late night talks, sometimes around 11pm, and there were even times she showed up at my place.

Are there any role models you admire and derive inspiration from?

Yes, Hans Zimmer and Ludwig Göransson.

Beyond creating films, you are now influencing the next generation through masterclasses, for instance the one you were recently invited for. How important is this teaching and mentoring side of your career to you?

Yes, that was a very special moment for me. Over the years, people have asked me to host a masterclass, but I had never really put one together myself. In the meantime, I have witnessed my works being studied in academic spaces, which is both surprising and humbling. For example, a music student from UNILAG  contacted me for a project based on Lisabi, a film I scored, while another student from OAU worked on Seven Doors. So when I finally held the masterclass at the film school in Jos the response was overwhelming. One of the lecturers told me it was an honour to meet me, and the students were so excited. I was almost in tears when the lecturer made me realize my works have now become part of academia, that people study why I compose the way I do and why I approach sounds the way I do. That kind of recognition makes all the sacrifices worthwhile because the way I work has affected a significant part of my life. I work constantly. I am always on the road, always creating, often with little time left for family and friends. But moments like this remind me why I do it. I have also received more invitations for masterclasses and I am doing my best to mentor young talents. I now try to respond to social media messages, answer questions, and help where I can. As for my own personal masterclass, it is definitely coming soon. The only reason it hasn’t happened yet is because I want it to be on the right level. I am looking for strong sponsors and partners, because I don’t want it to be just another regular class. My journey and the body of work I have built deserve something of real substance, and I want the event to reflect that.

Finally, what more should we expect from you this year? Could you share some insights on your upcoming projects, particularly Funke Akindele’s Behind The Scenes, which is scheduled for release later this year?

I cried twice while watching Behind The Scenes because it was that good. I won’t say more than that. Jagun Jagun 2 and King of Thieves 2 will be out soon. I worked on Son of The Soil, an international project that is coming to the cinemas this year, directed by a British-Chinese man, Chee Cheong. There are two other titles as well, including one that is currently in production, but I can’t talk much about them. I already made ten songs for the current one even before filming started.