Written By: Nadia Oualnan
We caught up with Fuse ODG to talk about his latest album Spirit of New Africa, his travels to Morocco, performing at the CAF Awards, and his education app SONA. Plus, he gave us an exclusive tease about what’s coming next with his new music
Your new album S.O.N.A — Spirit of New Africa — carries a strong message just in the title alone. What inspired this project and what does ‘Spirit of New Africa’ mean to you?
“Yeah, so this album Spirit of New Africa is actually my third album, and I was very intentional about it because my first album was called This Is New Africa, T.I.N.A. It was about changing the perception of Africa and how Africans feel about themselves.
“Over time, through the movement and through all of us as Afrobeat artists and other people working together, we were able to achieve our mission of Africans feeling proud of who they are and the world seeing us differently.
“So we became a nation. My second album was about that New African nation.
“This third album is about what happens now that we are a nation. How do we move forward as a people?
“For me, the best way for us to make a real difference as a people is by having the right mind and the right energy. So this album is about influencing people’s minds and psychology — moving with the right energy to achieve what we need to achieve as Africans. That means being mentally free, owning things, taking ownership of our stories and our narrative, because for too long our story has been told by other people.
“So how do we take back control of that?
“The only way is by knowing who we are — and to know who you are, you have to understand your history. This album dives into our history, our spiritual energies, and how we can tap into that to move forward.
“The rollout has been incredible because it’s resonated with people across the world — America, Australia, across all 54 African countries. People feel heard, they feel represented, and it feels like a whole new movement with this album.”
When you worked on it, what was the process like? And was there someone who really stood out during the process?
“The process was very organic. I can’t even tell you how long it took because I was just making music as life was happening. I wanted the album to be the soundtrack of what was happening across the continent, while also acknowledging the past.
“It was incredible tapping into ancestral energy, making spiritual songs that still make people feel good, move, dance, and think.
“I recorded between Ghana, London, and Amsterdam. Someone who stood out was a Ghanaian guitarist called OT — Stephen Wood. He’s an incredible guitarist, honestly the best in the world to me. He played on Ed Sheeran’s Divide album when Ed came to Ghana and fell in love with his talent. OT is a major contributor to Spirit of New Africa, and he deserves global recognition.
“We’re working on a new album together too — I’ve already started. I’m excited. Big up OT.
“Also big up Chris Salvador, one of the main producers. The album wouldn’t exist without him. He’s an incredible producer from Amsterdam and travels with me everywhere to record.”
How does this album reflect your growth and your mission to rebrand Africa?
“People can really see the evolution — from making Azonto to making Sundiata. I get messages from people saying they didn’t even realise Sundiata was me because the energy feels so different. I genuinely feel like an evolved person. I learned so much making this album.
“While making Spirit of New Africa, we were also building the educational app School of New Africa — SONA. Working with historians on the app taught me so much about our history, and I brought that knowledge and energy into the album.
“At some point, we have to become the leaders. We have to make sure the next generation doesn’t experience what we did. Growing up, being African wasn’t cool. Some people even changed their names. We don’t want our kids going through that — feeling like they have to be someone else.
“This album lets me highlight these issues while also offering solutions: building the next generation of leaders, helping them understand that no matter how the world sees you, you can still shine.
“This is the album that has sparked the most dialogue. The reception has been incredible — people are thinking, talking, engaging. Of course, I still have the vibes, the energy, and the songs that make you move, but you also get the songs that make you think.”
You mentioned that you recently went to Morocco and performed at the CAF Awards. How did it feel being on that stage representing Africa?
“It was amazing. Performing at the CAF Awards felt like the perfect platform for a song like “54 Countries”. The audience is full of people from all over the continent, so performing that song there was special. I felt like I was representing everyone in the room.
“It’s one of the most prestigious award shows in Africa, so it was an honour to be called to perform. I also had a great time in Morocco — beautiful country, beautiful culture. I ate tagine with my hands! The culture felt very familiar. I even worked with a Moroccan artist; hoping to go back soon.”
You also built your SONA app. What inspired you to step into tech?
“Stepping into tech wasn’t intentional, but the educational part was. We needed a way for young people to access it — through their phones. I’m not a tech expert, but my network is full of resources, and we managed to raise and invest about a million pounds into this.
“We put together a board of historians and writers who helped build a syllabus and curriculum so we can tell the stories that are usually hidden. One example: African women were the inventors of mathematics — a lot of people don’t know that.
“We’ve gamified the app to make it easy for kids to engage, simplified Black and African history, and put it all on one platform. You watch videos, take quizzes, and see global rankings.
“The idea is: the world is on the brink of destruction, and your job is to bring it back to life by learning your history. The more you learn, the more your world grows.
“Growing up, the history I learned was that we were slaves — but that’s such a tiny part of our history. Before slavery, we had kingdoms, royalty, surgeons, inventors, mathematicians, pyramids — so much greatness. The app tells our story through an African lens, empowering young people to understand the power in who they are.”
Your Nana Dolls created a huge impact on representation. What inspired them?
“Nana Dolls were inspired by the lack of representation in dolls — everything was just white dolls. Nana Dolls were created to represent young Black girls and to highlight powerful historical African women who impacted the world.
We were looking for a present for our niece and couldn’t find any Black dolls. We saw the problem and decided to be the solution. They sell out every time, and we’re restocking soon.”
Whether it’s music or tech, you’re always championing Africa. What keeps you rooted in that mission?
“Growing up in London, I couldn’t be myself because I was embarrassed to be African — because of what the media showed and how people reacted to my accent or where I was from.
“I do this for that child — the young African kid in school who needs to know it’s okay to be themselves. And that goes for every culture. The greatest thing you can be in life is yourself. That’s what motivates me: helping someone be unapologetically themselves.”
One song that really stood out to me was “Legend.” I love its energy and message. What inspired it?
“I love that song too. I was thinking about how even the trees around us have lived longer than us. What do you want the world to say about you when you’re not here?
“That’s the mindset I was in — imagining none of us existed, what would we want people to say? It’s about stamping my presence now, because even 50 years from now, people will talk about what we did today.
Of course, we exaggerate in music, so I pushed it to the year 3000, but the message is the same. I had so much fun making it. Feel-good energy with a message.”
Your fashion is always unapologetically African. What inspires what you wear?
“Everything I wear is from African designers. Big shoutout to Charlie, the baddest stylist. We work with tailors in Ghana — he designs, and they make it.
It’s about embodying the culture. We’re doing it through music, education, dolls, and fashion. Africa has so much to offer, and I want to showcase it to the world.
When I’m in America, I want to look fly and have people ask, “Where did you get that?” It sparks conversation. I like outfits that start conversations.”
You also dropped an AI video for “54 Countries.” What made you choose AI, and how do you feel about it in music visuals today?
“We wanted a way to showcase as many African countries as possible. AI felt like a constructive way to show the beauty of the continent. It doesn’t replace real travel — I’m still visiting and shooting in different countries — but it gave people a preview.
People loved it. I think that’s a good, responsible use of AI. I’m not against AI; I’m open to learning more about it and understanding how it evolves. It helped us “travel” to countries before physically getting there.”
When you’re not creating, what brings you joy and keeps you grounded?
“I love making music, but honestly — I love doing nothing. I get so busy, so being still, having peace of mind, being present… that brings me joy.”
Before we wrap up — any upcoming projects or collaborations you’re excited about?
“Yes — the 54 Countries book is out now. We sold out but are restocking. I’m excited to see the reactions from kids and parents because it’s one of the first times people can buy something like this for their children. It’s a new era.
I’ve also started working on my new album — this is exclusive, first time I’m saying it. I’m excited to travel across Africa and work with different artists. I’ll also be spending time in the Caribbean — it’s time for the diaspora to build together.”