Solana has never made music that stays in one lane. Since coming up through the emPawa 30 cohort alongside artists like Joeboy, she’s moved through Afrobeats, R&B, and dancehall without settling into any single sound. “Okunkun” marks a deliberate turn: a song sung predominantly in Yoruba, built on the tension between modern, experimental production and something older and more nostalgic. For Solana, the shift isn’t a departure from who she is as an artist; but rather a fuller expression of it. She spoke to WTS about what pulled her toward using Yoruba for her music, what she hopes listeners take from the record, and why she sees “Okunkun” as the start of something bigger.
Some people are tagging “Okunkun” as Yoruba pop (or Yoru-pop). How would you actually describe what this song is sonically?
It’s a fun glimpse into the Yoruba language and culture. It’s modern, melodic, and experimental while still having that feeling of nostalgia. Okunkun blends those worlds in a way that feels very natural to me, and that was how I wanted to express Okunkun when I made it.
Your earlier work moved across Afrobeats, R&B, and dancehall. “Okunkun” is quite different. Is this a direction you’re looking to build on or a one-off experiment?
I’m an artist who loves experimenting and pushing my creative boundaries. All those other songs came from the same place Okunkun came from, which is everything that makes me Solana. So definitely, we are going to be seeing more and more of Solana.
Singing predominantly in Yoruba changes the intimacy of a song. Does it change how vulnerable you’re willing to be lyrically?
I don’t think that changes anything. Of course, sometimes I bend some rules to make what I want to express in Yoruba fit into the song. But yeah, Yoruba is a language that carries so much emotion, so it gives the music an even heavier meaning that can be interpreted in so many different ways.
Is “Okunkun” a standalone moment or is it pointing toward something bigger?
It’s definitely pointing toward something bigger. Okunkun is the beginning of a much bigger story, and I honestly can’t wait to go on this journey with you guys.
What do you want people to feel when they hear your music?
I want them to feel seen. Whether they’re going through something difficult or they’re just trying to understand themselves better, I hope the music reminds them that there will always be light, and nothing should stop them from expressing life because life is meant to be lived.
That ties into your message of your latest single, Dide. What do you want that song to achieve?
Dide is a reminder that every setback is temporary. No matter what life brings, we can choose to rise again, trust God through the journey, and keep believing in the purpose He has placed inside us.
Five years from now, what does the Solana discography look like?
I hope it’s timeless. I want people to be able to go back to any project and still connect with it years later. I want it to reflect growth without losing my identity, and I hope I’m a huge part of pushing African and indigenous culture to the world because we are so cool and deserve that spotlight.
In today’s Nigerian music landscape, how do you think your sound fits in?
I think my sound fills a space that’s becoming more important. Nigerian music is evolving, and listeners are becoming more open to artists who are creating music that feels authentic to them instead of following trends. This is literally the perfect time, and I’m super excited.
What’s your music industry hot take?
Don’t allow everyone’s opinions to fuel or influence your actions. Believe in what you stand for and do that. Unbelievers will later turn to believers.
You’ve been working with Killertunes since 2019/2020. At what point did that relationship become something bigger than just producer-artist?
We’ve been working together since 2019, so it literally happened naturally over time. Having someone who believes in your vision and challenges you creatively is very rare, and beyond music, he is family to me and someone I look up to a lot.
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