Adekunle Gold returns this February with the highly anticipated release of his fourth studio album, Catch Me If You Can — jam-packed with smooth assists from fellow artists including Ty Dolla $ign, Lucky Daye, Foushee and Nigeria’s very own Davido.
Released independently via Afro Urban Records and Platoon, the rhythmic masterpiece comes two years after AG Baby’s fan-favorite summer album Afro Pop Vol. 1 (2020). “It was supposed to go out last year and I was working on the marketing plans but for some reason, we couldn’t finish on time,” he explains amid the COVID-19 pandemic. “I love making highlife music, but I wanted to try something different so I pushed myself hard on this album.”
Taking a moment to chat from London, the Yoruba sensation and Nigeria Entertainment Award-winner — who previously ranked No. 46 on Billboard’s Emerging Artists chart — says the project unveils “level four” of his musical journey, and a transformed version of himself. His debut studio album, Gold (2016) gained international success and scored a top 10 spot on the World Albums chart, peaking at No. 7. AG Baby’s sophomore release, About 30 (2018), debuted at No. 9 on the global chart.
The hitmaker’s latest boasts an interpolation from Nigerian legend King Sunny Ade: “I sampled [Sunny] in ‘Catch Me If You Can,’” AG says proudly, while giving a special shoutout to South Africa’s Amapiano sound, and Naija icons Ebenezer Obey, Sikiru Ayinde Barrister and Wasiu Ayinde Marshal.
Gold also officially tied the knot with his wife — fellow Afrobeats phenomenon Simi — on Jan. 9, 2019. The newlyweds welcomed their first child, daughter Adejare Kosoko, in 2020. In July months ahead of his album debut, Gold and his wife showcased their love in the breathtaking “Sinner” visual.
Below, Gold catches audiences up on his latest, and what they can expect from him moving forward.
Now that Catch Me If You Can is here, longtime fans want to know, will there be an Afro Pop Vol. 2?
I was making Afro Pop Vol. 2 when I started making this album, I’m not gonna lie. But then I realized the songs felt bigger than just a collection of songs again. Afro Pop Vol. 1 was a collection of beautiful pop songs, but this one didn’t feel like a mixtape or volume of anything. It felt like a project of its own that needed exploration. I decided Vol. 2 can take the backseat for now. I decided, ‘Let me tell them to catch me if they can.’ I meant that literally.
What’s your personal favorite song on the album?
My all-time favorite on this album is “Catch Me If You Can,” because it’s the reason for the album. Often times, I’ve listened to the title track on people’s albums and they’ve never moved me like this one. I’m not just saying that because it’s mine. It’s essential, and the summary of the album, plus the musicality.
So why did you choose “One Woman” as the lead single?
I wanted people to discover the title track by themselves. With singles, you’re basically forcing it to people. [Laughs.] The last songs are always lukewarm on albums so I wanted mine to start and end with a bang.
Catch Me If You Can and About 30 were released by Afro Urban Records, but Afro Pop Vol. 1 was released by EMI, when and why did you switch labels?
I was signed to EMI in 2020 but you know how this thing goes. If you’re not happy somewhere, it’s okay to leave. It was a good relationship and they did well, but I wanted to do it independent again. Shoutout to [music distributor] Platoon, they’ve been very instrumental in the success this whole album is having so far — because they’re an indie and they understand the struggle of an independent artist. They make it even easier to work together.
‘Catch Me If You Can’ Cover
What’s the biggest advantage of being independent again?
I enjoy freedom. Platoon will never stifle my creativity, all they want to do is help me. When I was fully Afro Urban Records and no distribution label, me and my manager had to do a lot work. Platoon has the best hands in everything from PR to marketing. All I had to do was work on the music and they’re ready to take the rest upon themselves. Fantastic.
It’s so impressive that you wrote most of the songs yourself, much like your previous work. Does songwriting come naturally or do you have a creative process?
It comes naturally. I really push myself which is why I’m not necessarily the artist that likes to book a session, go to the studio and then have to finish the song right then and there. My process takes long sometimes and I’ve learned to respect it. I wrote “High” for seven months, for example. Even if I only come up with one today, I make sure it’s one that I really love. I don’t force it. I’ll work on another song and go back to it.
However, I have a ritual for writing. Because I don’t do too many studios, I write while I’m on the road. I’m in London and I have my studio set up to where I have to have a view. My people know if they give me a spot that has only walls, which rile me up and I can’t stand, it’s not gonna get done. I’m a visual person and I like to look around, even just city lights and the sky is how I wrote “Okay” in Miami when I was chilling in the penthouse looking at the ocean.
What’s been the most rewarding thing about being recognized internationally? How do you stay close to your original Nigerian fan base?
It’s beautiful to see how the sound is moving internationally because the goal was always to take the music around the world. I want my music to cut across all ages and nationalities and to be the guy from Nigeria that’s doing it big. I’m grateful it’s finally happening and the world is recognizing. I’m touring Africa, America and the U.K.
Of course my Nigerian fans have my heart forever. Without my Nigerian fans I am absolutely nothing because they introduced me to the world so I will never forget them. I’m based in Nigeria and sometimes I away with my family for a bit.
You were done the album by October, but when did you start?
Usually my albums take two years to make and even when I’ve tried to break the flow, it never happens. I started while I was making Afro Pop Vol. 1 in 2020. While I was making About 30 in 2018, I was working on Vol. 1. I take my time and whatever vibe and energy comes to me or the music gives, I go with. I wrote most of the songs in LA because I was in America touring.
You previously said “Okay” is the biggest song you’ve released and that you didn’t expect it to blow up. Why were you surprised by its success?
I’ve gotten to a point where I feel like I can do better than what I currently like. My album was supposed to be 10 songs so I had to pick what I felt were my best 10 songs. I gave “Okay” to another musician from Nigeria but I noticed he was stalling. I felt like he didn’t really get into it so I was like, “Bro, are you gonna do the song?” My manager kept fighting me like, “Nah bro, you need to take the song back.” I listened to her and we took it back and it turned out to be the best decision I’ve ever made.
Before I released “High,” “Okay” was my most streamed song ever. With these things, you really don’t know because we’re in the business of probability. Sometimes, the song you like the least turns out to be the best one. It’s crazy.
Similarly, which songs on Catch Me If You Can do you predict will blow up?
I knew that “More Than Enough,” “Mase Mi,” “Win” — listen, I’m going to mention all the songs because with this album, I am 100 percent sure I was in my bag when I was making it, if I do say so myself. [laughs] I know the kind of hard work I did pushing my pen, flow and soundscape. I knew this is a labor of pain and hard work so every song will be fan-favorites. I know because on this album, everybody likes different songs and I’m seeing the conversation right now about outliers like “One Woman” [with Ty Dolla $ign] and “More Than Enough.”
You collaborated with Ty Dolla $ign for the bilingual song “One Woman,” did you have in-person studio sessions together?
We did in LA. What made me so happy about the session was he was really down to learn Igbo words. If you listen to the song, I spoke some Igbo and he was very intentional about getting the cadence, intonation and everything. He did very well.
I’m fully Yoruba, Yoruba ni mi to the core, sho get? But I love languages so I learn languages that I’m interested in. In “FYE” I spoke French, even though it was nasty words. [Laughs.]
What was it like working with Davido on “High”?
I wrote the song and sent it to him in August. Fortunately, he was coming to L.A. and I was in L.A. at the time. I said, “Let’s meet in the studio.’ He came to the studio, we made an absolute smash, shot the video the day after and the rest is history. He was so supportive.
While “Mase Mi” is the only song on Catch Me If You Can with a Yoruba song title, you sprinkle Yoruba language throughout the album. What’s the importance of showcasing your culture on each album so far?
It’s because I’m a cultured and traditional man. Forget all the flexing, I’m a traditional man. If you see random videos of me on social media, I’m speaking Yoruba because I love it. It’s my identity and who I am. I don’t see why I wouldn’t show it off, Yoruba is such a beautiful language. Because I’m Yoruba — Yoruba is complete. If you want to sing love songs, it’s just too sweet in Yoruba. It adds new meaning.
For fun, can you translate the Yoruba parts of “Mase Mi” for your fans?
“Mase Mi” means don’t tempt me or don’t use me Satan. I know you’re gonna bother someone else, but don’t tempt me, tempt somebody else’s son. Find somebody else. [laughs]
What’s changed most in your career since you appeared on Billboard’s Emerging Artist chart on Halloween day 2020?
You know what’s funny? I didn’t know that. Thank you. I’ve grown and the trajectory has been crazy. I’ve had more hit songs and it’s beautiful, even finding out now. I’m grateful.
Are there any awards or accolades on your bucket list?
Everything I deserve, I’m receiving. All the coolest awards of the world, I want them. But if I don’t get them, my best award would be my music touching lives and people sharing moments about how my music was a huge part of their growing up.
