Adekunle Gold has released Fuji Xtra, a five-track extension of his sixth studio album, Fuji, out now on all streaming platforms. Alongside the release, he has announced a live orchestral experience built around the project’s sound, though details on dates and venues are yet to be confirmed.
The deluxe adds five new songs to the original album: ‘Formation’ featuring Olamide, ‘Shake Shake’ with TML Vibez, ‘Blue Fire’ featuring Simi, and two solo records, ‘Life of the Faaji’ and ‘I Got Wiser On My Own.’
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The most notable of these is ‘Formation.’ It marks the first time Adekunle Gold and Olamide have formally collaborated, despite the two sharing a significant history. It was Olamide who signed Gold to YBNL Nation in 2016 after his debut single ‘Sade’ went viral.
Gold has spoken about the timing being deliberate. “We always said the moment had to be right,” he said. “Formation felt like that moment. It represents the future of Fuji music.”
Fuji, released in late 2025, was built around the sounds Gold grew up with in Lagos, the percussive rhythms and call-and-response structures of traditional Fuji music, folded into his broader Afropop framework. He has described Fuji not just as a genre reference but as an acronym: Finding Uncharted Journeys Inside.
Fuji Xtra continues along the same lines, with the added collaborators each bringing a distinct register: Olamide’s street-rooted Yoruba expression, TML Vibez’s younger energy, and Simi’s melodic familiarity, a dynamic Gold’s audience already knows well, given the pair’s personal and professional closeness.
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Gold’s catalogue before Fuji spans nearly a decade of consistent output. His debut album Gold (2016) entered the Billboard World Albums Chart at number seven.
About 30 (2018) was shortlisted for a Grammy Award for Best World Album. Subsequent projects, including Afro Pop Vol. 1, Catch Me If You Can, Tequila Ever After, and ‘Many People’, each marked a different phase of his evolution as an artist.
With Fuji Xtra, Gold has moved past repositioning himself. He is extending a body of work he has described as an attempt to document and pass on what he calls “the sound of Lagos”, a city where Fuji music is more of a constant.