Nollywood has produced films where the music not only complements the narrative but also stands out as a memorable element on its own.
From the 1990s to the early 2000s, Nollywood soundtracks often took the form of recurring theme songs. These songs were integral to the film’s message and played repeatedly throughout the movie. For example, “Iyeme” by Stanley Okorie for the 1999 film, Chain Reaction. The song preaches that “in this world, you reap what you sow.” Another memorable one is Wale Adenuga’s Super Story TV series, performed by Uwale ‘Essence’ Okoro.
In the mid-2000s, there was a shift. Nollywood’s musical landscape evolved from iconic theme songs to a greater emphasis on creativity and intentionality in cinematic music; film scores and soundtracks.
A film score is the original instrumental music composed for a film while a soundtrack consists of all the music used in the film, including the score and any licensed songs. While the score is often subtle, the soundtrack can be a more diverse music collection.
From the Western-influenced tracks of the 90s that captured the essence of their era to the modern, infectious beats of Afrobeats, Nollywood soundtracks have played a significant role in the cinematic experience.
We can’t start this list without mentioning Kunle Afolayan, with his film Irapada. He is one of the first filmmakers to introduce scores into Nollywood films. Examples of other memorable scores and soundtracks can be seen in the following films:
The Figurine: Araromire (2009) – Composer: Eliam Hoffman
The film score for The Figurine was composed by Eliam Hoffman, with contributions from Netto and George Nathaniel. The soundtrack is notable for its quality, particularly the song “Araromire,” which has been highly praised for Wale Waves’ vocals.
The soundtrack, produced under Cisum Entertainment, also includes tracks like “We Are Together” by George Nathaniel and “Africalypso” by Lagbaja. The music has been acclaimed as one of the most anticipated and well-received film soundtracks of the 2000s.
October 1 (2014) – Composer: Kulalen Ikyo
Kulanen Ikyo’s score for October 1 stands out for its evocative sense of nostalgia and patriotism. By incorporating traditional Nigerian instruments and melodies, Ikyo creates a sound that enhances the film’s period setting and emotional resonance, making the audience feel deeply connected to the historical narrative.
King of Boys (2018) – Composer: Bayo Adepetun
This soundtrack features an impressive lineup of artists, including iLLBLISS, Reminisce, Bayo Adepetun, Banky W, and Adekunle Gold. Each track is notable for invoking a sense of power, mirroring the intense struggle for dominance depicted in the film. One key score is “Oba Is Here” (Eniola’s Entry), composed by Dr. Bayo Adepetun, which captures the formidable presence of the protagonist, Eniola. Adepetun later composed two additional tracks for the 2021 series King of Boys: Return of the King.
His innovative approach to fusing genres adds a contemporary edge to the film, enhancing its modern narrative while staying rooted in Nigerian cultural elements.
Anikulapo (2022) – Composer: Kent Edunjobi
Kent Edunjobi’s work on Anikulapo is a masterclass in creating immersive soundscapes. The melodic sounds of the talking drum, combined with his vocal performances, create an unforgettable auditory experience. Edunjobi’s score won him the 2023 AMVCA for Best Composer and highlighted his talent for weaving traditional and contemporary sounds to enhance cinematic storytelling.
The soundtrack, in its entirety, featured performances from Kehinde Daniel Hassan and Anu Kayode Afolayan.
Jagun Jagun (2023) – Composer: Tolu ‘Tyanx’ Obanro
Jagun Jagun tells a narrative of power, class struggle, and spiritual warfare, following Gbotija’s journey from a simple, spiritually connected man to a formidable warrior. His challenges, from duels with fellow warriors to surviving impossible tests, are not just battles of physical strength but also of moral and spiritual fortitude. The film’s portrayal of these themes is rich and multi-layered, blending classic heroism with deeper social commentary on how the powerful exploit the weak.
The score, composed by Tolulope Obanro, serves as an essential element in reinforcing the film’s epic and mystical atmosphere. It underscores the tension and drama of the narrative, providing a powerful auditory backdrop that intensifies the emotional and spiritual undertones of the story making it even more memorable. Each character’s journey is mirrored in the music, with Gbotija’s mystical experiences accompanied by eerie, otherworldly sounds; while Ogundiji’s dominance and menace are accentuated by foreboding, intense themes.
The Black Book (2023) – Composer: Kulanen Ikyo
Produced by award-winning composer Kulanen Ikyo, known for his innovative contributions to the Nigerian film industry. He brings The Black Book to life with an experimental and emotionally charged soundtrack. His score amplifies the tension and drama of this crime thriller, weaving African musical traditions with symphonic elements to create bold cinematic soundscapes.
The standout track, “Greetings Mr. Paul,” exemplifies this fusion. It begins with a slow build, transforming into the iconic theme of “The Battle Hymn of the Republic.” A smooth electric guitar plucks the anthemic notes, while triumphant horns and resonating percussion swell, mirroring the film’s escalating tension and conflict. Another iconic track is the “Saks Operation” giving an eerie and pensive feel to the event at hand.
Kulanen’s composition captures the narrative’s magnitude, blending dark tones with emotional peaks to enhance the story’s intensity. His collaboration with director Editi Effiong aimed to reflect the film’s raw grit and emotionally charged moments, resulting in a powerful soundtrack that elevates the viewer’s experience.
A Tribe Called Judah (2023) – Composer: Tolu Obanro
The soundtrack of A Tribe Called Judah (2023), composed by Tolu Obanro, is a profound and evocative collection that resonates with the film’s themes. It consists of nine tracks, excluding the theme song, which stands out for its striking sound. The theme song is particularly memorable, incorporating elements of Egyptian-style singing that transports listeners to another realm—one that feels almost spiritual.
This is fitting, given the film’s title and its subtle nod to the Christian spiritual context associated with the Tribe of Judah.
The theme song, much like the film, centers around the idea of “gbigbe ija ara eni ija,” a Yoruba phrase encapsulating helping another person in a state of defenselessness. This concept is reflected throughout the soundtrack, emphasizing the protective and vengeful love of a child for the mother, which serves as the driving force for Jedidiah’s children.
Tracks like “Iya” celebrate the love of a mother, while “Iyaniwura” likens a mother’s worth to gold. These songs, along with others like “Owuro,” “Aye,” and “Jaiye Ori Mi,” build upon the theme song’s foundation, creating a cohesive musical narrative that echoes the film’s exploration of sacrifice, resilience, and the powerful bond between mother and child.
The soundtrack doesn’t just complement the film—it amplifies it. It serves as a reminder that the love of a child for the mother could be fierce and unyielding. A force that shapes destinies and fights battles, both seen and unseen. The music in A Tribe Called Judah is not merely background; it is a narrative force that reinforces the film’s exploration of single parenthood, societal stigma, and the enduring strength of maternal love.
Breath of Life (2023) – Composer: Kaline Akinkugbe Njoku
Kaline Akinkugbe Njoku, a Berklee College of Music-trained composer, delivers a heart-wrenching soundtrack for Breath of Life. Her original compositions and contributions to the film evoke deep emotions, adding layers to the narrative. Directed by BB Sasore, this faith-based film’s music pulls at the heartstrings, making the audience’s experience truly ‘breathless’. Kaline’s background in music shines through, making the soundtrack a crucial element of the film’s impact.
Mami Wata (2023) – Composer: Babatunde Jegede
“From its opening title design to the last notes of Tunde Jegede’s score, Mami Wata is a work of art.”
—Katie Rife
And we couldn’t agree more. Mami Wata is a true cinematic masterpiece, and its brilliance is profoundly amplified by Tunde Jegede’s evocative score. From the first haunting notes to the final crescendo, the music serves as an immersive force, pulling the audience deep into the film’s world of spiritual mysticism and societal tension.
Jegede’s composition is not merely an accompaniment but a living, breathing element of the story, with brooding, atmospheric sounds that mirror the film’s exploration of otherworldly realms and the human conflicts within them.
The score’s hypnotic rhythms and ethereal melodies elevate the narrative, transporting viewers to a space where the boundaries between the spiritual and physical worlds blur. The score of Mami Wata does more than set the mood; it connects the viewer’s spirit to the mystical essence of the story, making it a truly transcendent experience.
These examples demonstrate how Nollywood soundtracks have consistently been a part of the industry. As we draw the curtains on our exploration of Nollywood’s musical landscape, it becomes clear that the symphony of soundtracks has been instrumental in shaping the cinematic experience.
Looking forward, the continued evolution of these cinematic scores promises to elevate Nollywood’s storytelling to new heights, ensuring that its musical legacy remains as compelling and transformative as ever.
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