WALE THOMPSON Talks About His Staying Power

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+What He Has Been Up To In Music

For an artiste who came to prominence decades ago, remaining relevant in Nigeria’s rapidly changing music industry is no small achievement. But Mr. Wale Thompson has managed to do exactly that. The man behind the evergreen “Lalale Friday” has refused to become a relic of the past. While many artistes from his generation have either retired from active music or gradually disappeared from the spotlight, Wale Thompson continues to perform at shows across Nigeria and the diaspora, release new music, embrace digital platforms and connect with younger artistes.

His approach appears to be simple: evolve without abandoning his roots. From his early international performances in the 1980s and 1990s to his continued appearances at weddings, cultural festivals, corporate events and old-school concerts, Wale Thompson has built a career around the power of live music. Today, he is also increasingly presenting himself as a custodian of Yoruba culture, using music to celebrate his heritage.

His 2025 release, “Ijebu Homage”, was an expression of that cultural commitment. The song celebrates his Ijebu roots and encourages younger Nigerians to understand and appreciate where they come from. But there is another interesting dimension to his current career: his willingness to collaborate with younger artistes. At a time when many veterans complain about being ignored by the younger generation, Wale Thompson is choosing another route. He believes music has no age barrier and is open to working with contemporary stars such as Burna Boy, Asake and Adekunle Gold.

In this exclusive conversation with Emmanuel Daniji, City People Showbiz Reporter, Mr. Wale Thompson opens up about his music, business, collaborations, international performances, the continued relevance of “Lalale Friday”, royalties, cultural preservation, his plans for a new album and the much-anticipated Wale Thompson Generations Concert. Here are excerpts from the conversation.

Mr. Wale Thompson, you have remained one of the most recognisable names from the golden era of Nigerian Juju and Hip-Juju music. At this stage of your career, what keeps you going? Is it your love for music, the business, your fans, or simply the refusal to retire?

Wale Thompson: What keeps me going is passion first. I love music. Music is my calling. And of course, the fans, the business, and the joy of seeing people dance and remember their roots also matter to me.

Retirement is not in my dictionary yet. As long as God gives me voice and strength, and as long as people still want to hear Wale, I will continue to serve.

You are still performing regularly in Nigeria and abroad. Mr. Wale Thompson, what has the experience been like performing for Nigerians in the diaspora today compared with when you first started travelling internationally? Do diaspora audiences still give you the same energy?

Wale Thompson: It has been a beautiful journey. When I started travelling internationally in the 80s and 90s, Nigerians abroad were hungry for home. We were their connection to Lagos, to parties, to the culture.

Today, it is still the same energy, but the audience is even wider. Now you see second- and third-generation Nigerians, Ghanaians, Jamaicans, and even foreigners dancing to Juju.

The love is still there. The only difference is that the platforms are bigger now.

There is a growing market for veteran Nigerian artistes at weddings, cultural festivals, corporate events and old-school concerts. How important are live performances to your business today, and how much has the business of performing changed over the years?

Wale Thompson: Live performance is everything to me. That is where Juju and Hip-Juju live.

Records are good, but the real magic happens when the band is on stage and people are dancing. The business has changed. Today, it is weddings, corporate events, cultural festivals, and old-school concerts.

People now pay more for experience and nostalgia. So live shows remain the backbone of my business.

Emmanuel Daniji: Your 2025 release, “Ijebu Homage”, was quite different from simply putting out another commercial song. What inspired you to create a song celebrating Ijebu culture and heritage, and what message did you want younger Nigerians to take from it?

Wale Thompson: “Ijebu Homage” came from the heart. I am proud of my Ijebu heritage. I saw that many young people today don’t know their history, their kings, or their proverbs.

I wanted to use music to teach and to celebrate. The message to younger Nigerians is to know where you are coming from. Be proud of your culture. You can be modern and still be rooted.

You have increasingly embraced the identity of a cultural ambassador. Do you now see yourself as more than a musician — perhaps as someone preserving Yoruba and Nigerian culture through your music?

Yes, I now see myself as more than just a musician. I am a custodian of culture.

Through my songs, my dressing, and my language, I am preserving Yoruba values and Nigerian identity. If I don’t sing about our kings, our towns, our language, who will?

That responsibility is heavy, but I carry it with joy.

“Lalale Friday” remains one of the songs people immediately associate with you, even decades after its release. How does it feel watching a song from another generation continue to circulate, inspire younger artistes and remain part of Nigerian pop culture?

It feels like a blessing. To drop a song decades ago and still hear it at parties, in skits, sampled by younger artists, that is God.

“Lalale Friday” is no longer my song alone. It belongs to Nigerians. It makes me proud that something I created is now part of our pop culture DNA.

Today’s younger artistes frequently sample, remake or draw inspiration from records created by your generation. Do you believe veteran musicians are receiving enough financial recognition and royalties when their old works are reused?

Sampling is good because it keeps the music alive. But we must be honest. Many veterans are not getting their due.

Royalties, licensing, proper credit — the system is still weak. We need better structures, better copyright enforcement, and respect.

When you use an elder’s work, honour them financially and publicly.

You have spoken about veterans not receiving the respect they deserve from the Nigerian entertainment industry. Has anything changed in recent years, and what do you think the industry should be doing differently for musicians of your generation?

There is a little improvement now because people are talking about it. But we still have a long way to go.

The industry should create pension schemes, health support, and platforms that celebrate veterans while we are alive.

Don’t wait until we are gone to do tribute nights. Bring us on stage, book us, license our music properly, and teach the young ones about the foundation we laid.

You have also built your own independent music structure around Wathom Music. How important has owning or controlling your own music business been to your survival, and what have you learnt about the business side of entertainment that younger artistes should know?

Owning my own structure has been key to my survival. When you control your masters, your shows, your brand, you are not at the mercy of anyone.

What I’ve learnt is this: music is 50 per cent talent and 50 per cent business.

Young artists must learn contracts, publishing, and branding. Don’t just chase fame. Build a business that will feed you after the spotlight dims.

Beyond music and live performances, what are the other businesses or investments you are involved in today? Have you deliberately diversified your income because you understand that an artiste cannot depend on music alone forever?

Yes, I have diversified. Music alone cannot carry a man forever.

I am involved in real estate, hospitality, and entertainment consulting. An artiste must think beyond the stage. You need assets that work for you when you are not on tour.

Looking at the Nigerian music industry today, Afrobeats has become a global phenomenon while Juju and traditional live-band music continue to occupy a different space. Where do you think Mr. Wale Thompson fits into today’s music economy?

Afrobeats is global, and I celebrate it. But Juju, Fuji, Highlife, that is our root.

I fit in as the bridge. I bring the live band experience, the Yoruba storytelling, and the cultural depth.

There is still a big market for that, both here and abroad. The world wants authenticity, and that is what Wale Thompson represents.

Your music and activities are now available across digital and social media platforms. How seriously are you taking the digital side of your career, and has social media helped you reconnect with a younger audience?

I am taking digital very seriously now. Social media has helped me meet a new generation who didn’t grow up with cassettes.

TikTok, Instagram, YouTube — my music is reaching young people there. We are digitising the catalogue and pushing content.

You cannot run from technology.

You have performed across generations and alongside artistes from very different musical backgrounds. Is there any younger Nigerian artiste you would particularly like to collaborate with today, and what kind of record would you like to make with that person?

Wale Thompson: I am open. Music has no age.

I would love to work with someone like Burna Boy, Asake, or Adekunle Gold, artistes who respect roots but are pushing new sounds.

Imagine a Hip-Juju track with Afrobeats drums. That fusion can travel the world.

Let’s make music that teaches and dances at the same time.

After so many years in the industry, what has been your biggest lesson about fame, money and longevity? Is there anything you did differently at the beginning of your career that you would change if you had the opportunity?

My biggest lesson is that fame fades, but character and discipline keep you.

Money will come and go. Manage it well. Longevity comes from humility and consistency.

If I could change anything at the beginning, I would have documented and owned more of my publishing earlier. But God has been faithful.

Finally, Mr. Wale Thompson, what should Nigerians expect from you next? Are you working on a new album, more cultural projects, international tours, collaborations, business ventures or perhaps a major concert that will bring together the different generations of your fans?

Expect more.

We are working on a new album that blends Juju with modern sounds. There will be more cultural projects like “Ijebu Homage”.

We are planning international tours and a major concert that will bring together old and new fans — the Wale Thompson Generations Concert.

Also, expect more business ventures under Wathom.

The journey continues.