Lemon Adisa is one of the artistes that are inculcating rich Fuji components into ‘street music’.

On ‘YEEBO’, Lemon Adisa has crafted a thrilling neo-Fuji project that offers a candidly-driven commentary on the realities that characterize life in the inner city.

Adisa combines Fuji, Afrobeats, Hip Hop, and the solemnity of his Islamic faith, in making music that is deeply-thoughtful and focused.

He is an artiste that supposed to have been a Fuji band leader if not for Afrobeats. Lemon Adisa’s pattern in music-production leans almost absolutely to Fuji. His vocal texture, flow pattern, and talking style of music are classical to Fuji music.

On the insightful Konto bounce of ‘Vanity’, he speaks on the serious encounters of growing up with nothing, which has eventually motivated him to desire the fine things of life – which are tagged as “vanity”. “Is suffering not vanity?” Lemon Adisa asked before expressing to people that what they vanity perceive as vanity, he sees it as reality and by the heavens, he will immerse himself in the reality he desires.

He extended his voice to the issue of the fuji percussions of ‘Kokoka’ and his molding of Fuji melodies reminiscent of Pasuma’s music, as he makes a mockery of society’s promotion of education over fraud in a society where education no longer guarantees a good life.

“The desire to accept every part of their realities including the socially-undesirable parts and wear them as a badge of honour without being concerned about opinions of the public, is a striking quality that ‘Nigerian street-music’ shares with American hip hop.”

Lemon Adisa is proud of his ghetto realities on his deeply-produced ‘Ghetto Boy’. He reiterates his desire in achieving success and has asked that he should not be judged for getting involved in the ‘undesirable’ on a record where his melodies are inspired by commanding improvisations.

Adisa borrows from a classic Islamic song titled ‘Mama’ where he pays tribute to his mother on an Amapiano fusion which is greatly influenced by Fuji through Were.

The growing influence of Western hip hop on street-music has shaped ‘Son of Adamore (Son of Adam)’ where Lemon Adisa ponders on the endless struggle to break free of life’s travails. The noticeable feelings of uncertainty in his voice increases the emphasis of his asserted realities as he narrates how the lives of young men are being drastically altered by their socio-economic realities.

Lemon Adisa doesn’t feel indolent in expressing his reality and with this mindset, he has made a ‘neo-fuji project’ that connects with those who share his reality.

Adisa is one of the Street prophets whose message is enabling the growth of Nigerian street music.