Two decades after her debut album High Rise hit the Nigerian gospel scene, Oyindamola Adejumo-Ayibiowu, PhD, reflects on a journey marked by divine calling, artistic legacy, and a steadfast commitment to national development.
A gospel music artist, writer, and
development economist, Oyindamola has worked with international organizations,
academia, and public institutions for over 25 years. Yet, despite her
professional achievements, it is her ministry through music that has left an
indelible imprint on generations.
The daughter of Nigeria’s late
legendary comedian, Moses Olaiya Adejumo, popularly known as “Baba Sala,” she
has carved a unique identity for herself—one that bridges intellect, faith, and
creativity.“My first album, High Rise, released in 2004, remains special to
me,” she says.
“Not just because it touched
lives, but because of how widely it circulated. It’s still evergreen.”One of
the standout tracks, Werewere, holds particular significance for Oyindamola.
She wrote it in 1996 as a university student, and it served as the theme song
for the very first concert by the Oratorio Music Foundation—a non-profit she
founded that same year to mentor young people and nurture creative talent.
“Werewere was one of my earliest
compositions. When I recorded it in 2004, I never imagined I would revisit it
20 years later with fresh eyes,” she shares. That revisiting has taken form in
a 20th anniversary remake designed to resonate with a younger audience,
particularly Gen Z. “Both the audio and video were produced by Gen Z creatives.
It’s my way of bridging
generations, honouring where we started, while embracing where we are now.”The
video, shot in South Africa, is set to be released on April 20 and will be
available on all streaming platforms, offering a fresh lens on a message that
continues to inspire.Balancing artistry with a life of service has not been
without its challenges. Oyindamola, who is not in full-time ministry, juggles
an 8–5 job in development work, her role in the Oratorio Foundation, and her
personal ministry. “As I grow in my career, balancing everything has become
more challenging,” she admits. “But it has also stretched me to become an
employer of labour.”
She now runs with a dedicated
team. “I never thought I would need a personal assistant or a permanent sound
engineer. I never imagined needing a social media manager. Today, I’ve employed
all of these people and more, parting with some of my personal income because
my ministry work is nonprofit”.
She also explains, “Oratorio Music
Foundation itself has grown into a structured organization with ten distinct
departments- including Music and Performing Arts, Business Research and
Strategy, Community Service and Outreach, Leadership and Vision Development,
Social media and Branding, Stakeholder and Alumni Relations, Entrepreneurship and
Capacity Building, Prayer and Welfare, Fundraising, and more These departments
are led by alumni volunteers and overseen by senior academics on our campuses,
acting as mentors and advisers. “That structure has taken a lot of the burden
off me,” she explains. “It allows me to focus on other callings.”Yet at the
heart of all her commitments is her family.
A mother, wife, and sibling,
Oyindamola has made intentional decisions that reflect her values. “I earned my
Master’s and Doctorate degrees abroad and had opportunities to pursue an
international career. But I chose to remain in Nigeria,” she says. “It wasn’t
because I lacked the option to migrate, but because I recognized the calling of
God on my life and my responsibility to my family.”Her children have been part
of her musical journey from the start. “Before I built my own studio, I would
go to sessions with them—even if it meant spending 48 hours there. We did it
together,” she recalls.
Now that they’re older, she finds
more time to focus on her multiple callings.With the gospel music scene in
Nigeria evolving rapidly, Oyindamola has words of wisdom for emerging artists.
“To succeed, you need more than just talent. It takes serious work, strategy,
and relentless prayer,” she emphasizes. In an era where social media has
democratized visibility, she urges younger artists to be intentional and to
build sustainable paths that don’t compromise their values.
According to her, “If you’re not
sponsored, how do you survive without compromising your values? That’s why I
combine my music with my academic and professional career. A Yoruba proverb
says (paraphrased),” a motherless child must avoid sustaining wounds at the
back”. So if you have no parent or pastor saying, ‘I will foot all your bills,’
then you must find a way to stand. Strategy will preserve your calling. I have
heard of artists sleeping with marketers or entering exploitative deals just to
be seen. But if you build a sustainable path, you won’t trade your spirituality
for fame.”
She adds. “It is God who announces
His own.”Beyond the pulpit and performance stages, Oyindamola sees gospel music
as a national asset. “Gospel music is a multi-dimensional force,” she says.
“Spiritually, it carries the message of hope and healing. Economically, it
creates jobs—from producers and instrumentalists, o brand managers and even
tailors.”She points to packed gospel concerts at major venues like Tafawa
Balewa Square as evidence of the industry’s impact. “It’s mopping up youth from
the streets and giving them purpose,” she notes. “While some countries legalize
marijuana to create jobs, gospel music uplifts communities and promotes peace.
When you invest in the things of God, peace reigns in the land.”At 20 years and
counting, High Rise remains not just a musical project, but a legacy. And
Oyindamola Adejumo-Ayibiowu is far from done.
