The musical odyssey of Aṣa as she creates multi-genre music
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With a compelling presence on stage and a wide-ranging repertoire, Aṣa’s artistry embodies a diverse range of experiences, stemming from her multicultural heritage: Nigerian and French.
Born as Bukola Elemide, she chose the stage name Aṣa (pronounced Asha) due to her curiosity-fuelled childhood wanderings from home, much to the emotional panic of her mother. An old man from the neighbourhood baptised her Aṣa, or “Hawk” in Yoruba (a West African language widely spoken in Nigeria).
But when you listen to Aṣa, you quickly realise that the pseudonym “Hawk” is strikingly appropriate, resonating with Aṣa’s persona as an eccentric maverick; and just as hawks nest high in trees, she stands tall and solitary. The hawk’s piercing screech mirrors the raw intensity of her voice, and just as these majestic birds soar across vast distances, Aṣa’s insatiable curiosity drives her to explore uncharted territories, forever seeking what lies beyond.
She sat down with GQ to discuss her musical odyssey, her artistry, and making multi-genre music that transcends boundaries and resonates with audiences worldwide.
‘From a very early age, I knew that music was my calling, and I was to pursue a career in it,’ says the singer. ‘Music was a constant presence in our house – my father, a cinematographer, owned a diverse collection of vinyl records. My siblings and I were part of the church choir growing up. Of all the things I could pursue, music resonated with me the most.
‘I was always fascinated when I saw musicians. Artists like Fela Kuti, Bob Marley, Nina Simone, Marvin Gaye and Miriam Makeba stood out to me. I was drawn to these musicians because they weren’t just making music for fun; they were also conveying messages. I wanted to be a part of that.’
Aṣa released her self-titled debut album in 2007, which won her the Prix Constantin in 2008 and charted in the Top 20 in France. It was followed by the 2010 album Beautiful Imperfection, leading to a Victoires de la Musique award for Female Artist of the Year. Aṣa’s next studio albums were Bed of Stone (2014), Lucid (2019), and V (five) in 2022. Though her songs feature mainly English lyrics, she also sings in Yoruba.
‘When I write in these languages, they suit certain types of music and messages that I want to convey,’ says Aṣa. ‘There are some songs that I cannot sing in English as they wouldn’t convey the message I want. Because of the tonal beauty and musicality of singing in Yoruba, it feels very personal, yet it also resonates with everyone. However, in terms of breaking through and reaching a wider audience, English is the global language.’ She adds that while she enjoys listening to and has performed ‘kind of’ in French on stage, she hasn’t sung a full album or song in the language.
Asked how her Nigerian/French heritage influences her musical style, she explains that her Nigerian roots keep her authentically African, while the French connection opens a portal to the rest of the world. ‘I always allow for that space when I’m making music. I want to create music with everyone in mind, including those who may not know or understand my language or culture. But I always strive to include them. I’m from Nigeria; I want to act locally but think globally in my approach with music.’ Even when singing in Yoruba, she wants the music to feel open and accessible to everyone.
Regarding her process for writing music, she emphasises that while it’s a solitary pursuit, she occasionally collaborates. Most of the time, she composes the songs herself, starting with the chords and then adding the melody. She describes crafting the melodies as “doodles”, shaping them into a song before adding lyrics. The doodles guide the direction of the song.
Aṣa is renowned for her introspective lyrics that explore themes of love and identity, as well as societal issues. Her profound and authentic songwriting strikes a chord with listeners, solidifying her reputation as a captivating storyteller through her music.
‘Many of my songs stem from imagination and shared stories. I would imagine scenarios, and convey them through my music. “Jailer”, that you mentioned, for example, was actually a direct message to the people I was working with back then, who were quite difficult to deal with. They seemed oblivious to what they were doing – or perhaps they were just dubious individuals.
‘I do use music, and I always use music as a weapon. I remember as a teenager, I was going through a hard time living with relatives – my parents had separated, and we were treated anyhow. And out of frustration and spite I would say, you know what, I’m going to drop out of university and use the fees money to buy me a guitar, and what are you going to do about it? I didn’t have the power – I was just a young girl, I couldn’t fight back; but even when making trouble, I would keep making music. Music has always infused me with energy and resilience.’
Aṣa’s musical journey is marked by an eclectic fusion of genres, showcasing her ability to navigate seamlessly through diverse sounds. On how she does this, she says, ‘Throughout the odyssey of my life, I’ve immersed myself in various styles of music, absorbing and enjoying them to the point where sometimes I wonder where it all came from. The mind holds onto a lot of information that you may not even be aware of.
‘It’s difficult for me when someone asks, “What’s your genre?” because I feel like saying, “Listen, I’m a musician. I didn’t study one type of music; I actually studied the theory of music, which is really just based on the Western form of music; but with those 12 notes, I can go wherever I want to go.”’
Explaining the evolution of her musical style and the influences on it, she describes herself as a sponge that absorbs everything, but is not always aware of what’s inside. ‘I don’t know its depth,’ she says. ‘However, I would feel disappointed in myself if I didn’t try my utmost best to discover what God has given me. I will sing rock music. I would do a trap song, or traditional Fuji songs. Even though I might not actively seek it out, I’ve absorbed it, whether from the radio or just passing by.
‘While I wouldn’t call myself an expert, I would infuse it with my own style. My musical journey is constantly evolving as I encounter the right songs, settings and days. It’s already within me; I just need to tap into that source. And then I will give you something different that may surprise you, but which has already been in me.’
She does say that while there are many artists who change their sound with each album released, some fans aren’t always thrilled about it, while others appreciate the exploration and experimentation that comes with new sounds.
‘I know a lot of people say that after my first album, they didn’t listen to the other albums. And because they didn’t listen to the other albums, they didn’t keep up with what I’ve been doing, where I’ve been and my journey. However, as an artist, we cannot constantly be our first album! The experiences, stories and challenges draw from change over time, and it is reflected in new sounds and new creations.
‘As a music artist, with the right team, if your debut album is amazingly successful, you may stick to the same formula because it works. But if you’re a free spirit like me, who has always fought for freedom, you’ll want to explore more, knowing that your first album will always be a part of you – it never leaves you. But you still want to delve deeper, to keep searching for what’s within.
‘For my audience, if you choose not to follow, that’s okay. There are plenty of stops along the way where you can disembark at your convenience. I’ll pick up someone else, and the journey continues. It’s an odd, ever-changing journey; we’ll never be the exact same person we were two, five, 10 or 15 years ago, and I believe that embracing this evolution is essential for personal growth and artistic development.’
As music is a business, and artists are measured by their commercial success, sometimes one’s individualism must stay on the back burner in order for one to be financially successful. Aṣa says that putting her own artistic vision aside in favour of making money will never be an option for her.
‘I am not your regular statistic; I exist outside the formulaic structure of the music industry. I value freedom and curiosity in my work, allowing music to take me where it will. In saying that, I also want to make music that will be listened to, which is what makes us tour, get on the stage and perform for people – the best part of my career. You’re not making music for just you and your friends; music also has a natural flow, and reaches where it wants to naturally. Will it be commercial? I don’t know. What I will say is that even though I like a little bit of freedom when making music, I also think about how I would love an audience for this music. I would love this music to be heard everywhere in the world, if that is possible.
‘I don’t despair if a song isn’t a hit. I don’t hate myself. Instead, I tell myself, “Hey girl, go back and do another one.” After all, many successful people have faced failure. I’m not exempt. I just need to keep trying.’
Throughout the entire interview, one thing that stands out about Aṣa is her very positive spirit regarding her career, and just as a person. She explains that while all her albums are amazing to her, she’s also had songs that didn’t perform well; but that music is incredibly subjective, making this career one of the most disconcerting to choose. If you enter it with a business mindset, you must understand the risks. But if you approach it with passion, like her – driven by the desire to make a difference – it can be tough, as you often find yourself going against the grain.
‘As a child I felt powerless, constantly told what to do by adults who seemed clueless. I hated being controlled, especially by people who were unsure of themselves and projected their insecurities onto me. They couldn’t accept their fallibility, their mistakes. So I always leave room for failure. If something works, great. If not, I’m okay with it; I’ll keep trying. I extend the same understanding to others – we’re all imperfect.
‘When I create songs, I hope they resonate with the audience. I want as many people as possible to connect with them because I believe they’re beautiful. However, if they don’t, I won’t simply dismiss it as a bad song. There may be technical issues like timing or production quality. So we go back to the drawing board, and continue refining. We’ve all heard stories of people facing numerous failures before finding success. And one day, everything aligns – the stars, the moons, and all the galaxies – and suddenly, everything clicks into place.
‘With regard to my mental health, I said to someone yesterday, “Have you ever looked at yourself in the mirror, said something, and burst out laughing? That’s me. I make myself laugh.” I prioritise rest when needed, read a lot, and try to avoid stress whenever possible. Although sometimes stress is inevitable, I make a conscious effort to take it easy and not dwell too much on anyone who has wronged me. If I have done wrong, I apologise. I keep things chilled, so I can sleep well at night.’
Of the challenges she’s faced as a Nigerian artist on the global music scene, she reveals that before the rise of Afrobeats, it was interesting to watch how radio wouldn’t play black music, especially in Europe. She adds that in France, when nominated for the awards mentioned above, there was much debate around “but she’s not shown here – oh, she was born here”.
‘There were a lot of subtle aggressions, because they always want to put you in your place. At the time, I actually had no idea of these discussions, I was simply curious about creating music and seeing everything as a learning curve. It was only years later when I looked back and said, oh, this is what was happening. Sad for them, not for me. I can’t complain. I’ve had a lot of news said to me, a lot of rejection; but it’s not something I get into so much. My manager is my best friend and has been working with me for almost 20 years, and she protects me from a lot of that negativity.
‘It’s good to see that music from all parts of Africa is shining, and has caught fire and is everywhere,’ says Aṣa, on a more positive note. “African music is great. African music is a passion, and we’re getting our flowers! It’s way overdue, and I pray and I hope it continues.’
Sharing her thoughts on diversity and representation in the global music industry, she says that they are definitely important; but that she’s found the industry has always had people from diverse cultures.
‘I don’t think that is the problem. With the advent of social media, everyone has become content providers, and has a say and is able to self- promote and carve out space, reach, and an audience. There’s no lack of diversity of artists making music; the key is whether there is fairness and enough visibility for each of them, especially women musicians and African and black artists. That’s what true diversity should look like, rather than overstating it.’
And the moment in her career that stands out the most? She says it hasn’t happened yet.
‘I’m not being humble about it,’ says Aṣa. ‘I feel like I’m still in training for something life-changing. Even before I recorded an album, I was telling myself that I needed to learn and train about getting into the studio and navigating record deals, etc. I believe I’ve passed that stage; I know my way around the industry now. And I believe that all of that is preparing me for something much bigger.
‘I’m not going to downplay the achievements so far. My first album was a breakthrough album, and all that followed were further pieces of my journey through musical dimensions. Recently, on my birthday, I listened to all five albums – something I rarely do. And when I did, I said to myself, “Wow, girl, you did this – you’re a badass.”
Some people might look at me and say, “Whoa, you’ve done all these things,” but I hadn’t listened to my albums in many years; it was a moment of self-recognition. It’s easy to sit in the present, no matter what your career, and feel like you’ve missed something – especially if you’re having a tough time, perhaps. But it’s important to look back and celebrate, because 99% of the time you’ll find you haven’t done badly at all. I haven’t done badly at all, but I still feel I haven’t accomplished what I set out to do. But you know, these are all human feelings, and we can’t tell what the future holds; only keep believing in ourselves and our abilities.’
The legacy Aṣa wishes to leave behind is one of having created music that healed and uplifted humanity. While she has many songs that have already resonated with listeners and made a positive impact, she feels compelled to do more.
I’m on an odyssey, continuously striving to make a difference. My motivation comes from recognising that creating music is my service as a human – it’s what I excel at. Even when I feel down, knowing that my music has helped others keeps me going. When someone tells me that my music saved their life, or helped them through a difficult time, it reaffirms that I’m on the right path. There are people who need the healing power of music, and that drives me to continue exploring new artistic territories and pushing boundaries.’
Right now, her time is spent working on her sixth album. Alongside that she is re-recording the first three albums, due to label disputes about ownership of the master recordings.
‘It’s been years of fighting to get my masters back from the label,’ she explains. ‘They refused to sell them to me – which is strange, considering they gave the masters to other artists and labels. While it is frustrating, and somewhat daunting to having to go back and redo past work that I made when I was in a different place in life – and younger – luckily, i don’t have to do crazy vocal work. I’m really excited, because I’m going to be recording with the same musicians in the same studio. And this could be a chance to open up the whole session again and make it better.’
Revealing more about her upcoming album, she says, ‘I’m still in the process of recording. I have a lot of songs, but I only want 12 on the album. I don’t want to hold onto these songs indefinitely, or end up with an album of 16 or 17 tracks, which would be too long for anyone. So, I believe the best songs will win in the end. I am hoping to release it before the end of the year, but I don’t have a title yet.