Long before the mask became one of the most recognisable symbols in Nigerian music, Lágbájá was simply Bisade Ologunde — a creative mind fascinated by sound, performance, production and the possibilities of African music.
His journey into music was not initially centred on becoming a conventional recording artiste. Ologunde reportedly had strong interests in creative production and advertising, particularly radio jingles and audio production. His early work was largely behind the scenes, where he developed the production skills that would later become an important part of his musical identity.
One of his notable early production credits was on Fuji Sandoka’s Yoboro Yobonsin, a project associated with the blending of Fuji and contemporary sounds. Ologunde also produced African Jamboree for veteran Nigerian pop star Dizzy K Falola. Falola’s own biography identifies Bisade Ologunde as the producer of the song, confirming an important chapter in the producer’s early career.
Then came the band.
When Ologunde formed the Call Us Band, becoming the centre of attention was reportedly not his original ambition. His preference was to concentrate on instruments, production and developing the musical direction, while other vocalists handled the frontman role.
Among the vocalists associated with the early formation was veteran musician Sunny Neji, the artiste who would later become widely known for classics such as Oruka. According to a recent account by journalist Kayode Badmus, Neji's connection with Ologunde's early band would eventually become much more significant than simply being part of its beginnings.
As Ologunde increasingly moved toward recording and performing his own material, he still did not appear interested in becoming another conventional Nigerian pop star. Instead, he created something much more intriguing — a character.
That character became Lágbájá.
The mask was not simply a costume. It became a powerful artistic identity that separated the performer from the individual behind the character. Rather than making his personal identity the focus, Lágbájá allowed the music, costumes, percussion, movement, social commentary and theatrical performances to command attention.
Over time, the mystery surrounding the man behind the mask became part of the attraction.
And then came Ego.
According to the account attributed to Badmus, Sunny Neji introduced Nwakaego Ihenacho Ogbaro, popularly known as Ego, to Lágbájá's musical circle. Ego would go on to become one of the most recognisable voices associated with Lágbájá.
Their partnership produced memorable records including Konko Below, Nothing for You and Never Far Away. Contemporary and retrospective accounts continue to identify Ego as a major vocalist in Lágbájá's band, while Never Far Away and other collaborations remain part of the catalogue remembered from that era.
The chemistry was distinctive: Lágbájá's theatrical, percussion-driven approach and Afrobeat influences met Ego's expressive and unmistakable vocals. Their music emerged during a period when Nigerian artistes were creatively combining traditional African rhythms, live instrumentation, contemporary production and performance theatre.
Lágbájá did not merely make songs. He constructed an entire musical world around them.
Ego eventually left Lágbájá's band in 2007 to pursue a solo career, later forming the band Indigo and collaborating with several other Nigerian artistes, including Sunny Neji.
That history is part of what makes the Lágbájá story so fascinating decades later.
The man disappeared behind a mask, but the music refused to disappear.
Today, there is renewed interest in making Lágbájá's catalogue more accessible to a digital generation. Recent commentary has highlighted the difficulty of finding parts of his catalogue on major streaming platforms and called for the recordings to be properly digitised and preserved.
And perhaps the next chapter should be live.
Imagine a carefully curated Lágbájá celebration at the National Theatre in Lagos, bringing together Lágbájá, Ego and Sunny Neji to revisit the music and memories of an extraordinary era.
Some musical chemistry is worth revisiting.
Some catalogues deserve a digital revival.
And some legends deserve another night on stage.
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