Forty one years ago, in a modest corner of Paris, Bukola Elemide, known to us as Asa, was born to two young Nigerians, one of whom, her father, was a cinematography student.
Asa’s family relocated to Lagos, when she was just two years old. Her passion for music began to blossom in her primary school days. She would listen to her father, and edit films using music as voiceovers. Nestled between the couch and a wall, she found immense joy in her father’s musical selections. This was her favorite part of her childhood. She once said that “the only thing that made sense to me was music.” This passion was further fueled by her father’s extensive music collection, which included works by artists like Fela Kuti, Bob Marley, Nina Simone and King Sunny Ade.
After completing her high school at the Federal Government College in Jos, she continued her education by enrolling in the theatre arts program at Lagos State University (LASU) in 2002. However, she dropped out in her second year to attend Peter King’s College of Music School in Badagry, where she majored in guitar playing for the next six months. It was also there that she made the decision to pursue a career in music.
At this point, her mother was the only person who encouraged her musical ambitions; her father had left her to fend for herself, while everybody else who heard her sing actively told her that she had a terrible voice and shouldn’t be singing, but she persisted and finished music school. She hit the road almost immediately after, performing and touring as a backup singer and vocalist for Tony Allen. Asa returned to Paris on a scholarship at the IMFP School of Jazz, she had previously encountered the France-based band, Assata, at the French cultural center in Lagos while they were on tour. This encounter led to her becoming their lead singer.
In 2007, her career as a singer launched with the release of her first song, Eye Adaba, produced by Cobhams Asuquo, whom she met earlier in 2004 through her then-photographer and now manager, Janet Nwose. At the time, her music was different from the popular Nigerian sound; it was ahead of its time so it took a while for people to accept it but her dedication and talent helped her breakthrough into the Nigerian music scene.
Her sound has been described as Jazz, Neo-soul, R&B, Afropop, Alte, and more. But Asa’s music defies the restriction to a genre, even if these descriptions of her sound may be accurate. Her music is a genre cocktail, making it stand out. It is a fusion of all these and more. But the essence of her music remains unconventional and distinct. It’s this unconventionality that makes her music so unique and appealing. It’s not just music; it’s a movement, a new wave of sound challenging the status quo.
Now regarded as one of the OGs of Nigerian music, Asa launched a revolution with her descent into music. It wouldn’t be unsafe to argue that she may be the mother of the Alte movement. She didn’t try to be unique; she just was. Her music did not follow trends; it set them. Despite her long career, her music still embodies the courage to be different. She’s an inspiration to so many artists trying to break free from societal norms. . That’s why so often you hear the likes of Lady Donli or Teniola mention her as the artist who inspires their careers.
Often, her music is seen as respectable and acceptable because one surely anticipates the absence of profane language; it’s music you can comfortably play in any environment, from a quiet evening at home to a political gathering, without causing too much of a stir. Her approach to activism is passive yet impactful. She subtly addresses societal issues but never resorts to direct criticism. Her stance against violence and her ability to weave criticism subtly into her music make her a unique figure within the industry. For these reasons, you’d find Asa in political settings performing songs like Jailer or Fire on the Mountain, and no one would bat an eyelid.
In an interview with NdaniTV , she referred to herself as a loner. This private nature adds to her allure because of the curious nature of humans. She is indeed an enigma, preferring to keep her circle small and her life private. This has allowed her to avoid scandals and maintain her focus on her music. Her best friend and manager of over 20 years now, Janet, is one of the few people she often mentions. This level of privacy and selectivity in her relationships is perhaps one of the reasons she’s been able to keep her name out of the blogs.
Despite the initial resistance, Nigerians have become somewhat receptive to her new sound and style, between 2008 and now, Asa has had a significant influence on Nigeria’s music industry. For Asa, music is not just her career; she once described it as her religion in an interview with Channels Television; a reflection of her life experiences and deep devotion to her craft. In some of her works, she is able to convey this devotion and passion to her listeners, making her music the truest expression of herself.
Her debut album Asha is truly a work of art. Songs like Jailer, Fire on the Mountain, So Beautiful, and Bibanke are timeless classics that have showcased her talent. With five studio and two live albums, we’ve seen over the years that Asa isn’t one for collaborations. However, she has collaborated with many other incredible musicians, including Wizkid, the Cavemen, Angelique Kido, Nicolas Molard, Tay Iwar, and many others, especially on her most recent album, which has been described as extremely experimental. As we celebrate 21 years of her music, we can’t help but look forward to more from her. Here’s to Asa and her contribution to music.
Ibitoye Oluwasikemi is a passionate writer and a dedicated student at Afe Babalola University. Her writing explores the multifaceted evolution of Nigerian culture and society, delving into the heart of its complexities. With a unique perspective, she sheds light on various aspects of Nigerian life, inspiring thought and conversation.