The saxophonist of Fuji music legend Wasiu Ayinde Marshal, popularly known as K1 De Ultimate, has apologised over a controversial stage performance that sparked widespread criticism on social media, insisting that the singer was not responsible for the viral chant linked to an ongoing paternity controversy.
The saxophonist, Olawale Adekoya, made the apology in a video posted on his TikTok page on Sunday, where he accepted full responsibility for interpreting a traditional drum rhythm, known as alujo, during a live performance.
The performance had drawn heavy criticism after a video circulated online showing K1 singing about “unnecessary pregnancy” just days after a woman, Ogechi Eleana, publicly alleged that the Fuji musician abandoned her and their 12-year-old daughter.
Although the timing of the performance fuelled public speculation, K1 did not directly state that the song referred to the woman or the allegations she made.
The controversy quickly spread across social media, with many users accusing the veteran musician of mocking the woman and her child at a time when the paternity claims were attracting widespread attention.
In his video, however, Adekoya said K1 had no role in creating or suggesting the controversial interpretation of the rhythm.
He explained that he was the one who interpreted the alujo beat while the band’s percussionists played during the performance.
“I will start by taking full responsibility for whatever happened on stage on that particular day because I was the one who interpreted the alujo to Alhaji when the percussionists were playing the beats.
“And I think where everything went bad was the fact that it happened at a very sensitive period, which I take full responsibility and accountability for,” he said.
According to Adekoya, the rhythm itself was not new and had been part of the band’s performances for years.
He said the beat was originally introduced by percussionist Ayokunle Ayolowo after rejoining K1’s band and had since become one of the singer’s favourite rhythms during performances.
“This particular beat that caused the whole issue is not new, and we’ve been using this beat for a very long time now, since Mr Ayokunle Ayolowo rejoined the band. He was the one who originated the beat.
“But as at that time, it had no meaning, it had no interpretation, and it has become one of Alhaji’s favourite alujo so far. He’s always excited whenever he hears the beat,” Adekoya explained.
He said the controversial phrase did not originally exist but emerged months earlier during a casual backstage conversation among members of the band.
According to him, band members had jokingly created several playful interpretations for the rhythm, with the now-controversial version being only one among many.
He maintained that K1 was unaware of the different meanings attached to the beat and never instructed anyone to use the phrase during performances.
“To be honest, this is why I’m making this video, because Alhaji knew nothing about this. He was not involved in the interpretation, he never told us anything, he didn’t put any words to our mouth.
“That was why he was really shocked that, ‘Ah! So you guys eventually found a meaning to this rhythm?'” he said.
Adekoya also dismissed claims that the performance was intended to ridicule Ogechi Eleana or her daughter.
He insisted that the band was simply enjoying the performance and that no individual was being targeted.
“We were all excited that day. We were not laughing because of the mother and the daughter. We were not referring to anybody. It was just a fun moment. That’s all. It was totally harmless and not intentional,” he said.
Despite maintaining that there was no malicious intention, the saxophonist admitted that the performance came at the wrong time, especially because of the public attention surrounding the allegations against K1.
He apologised on behalf of the band’s percussionists and other members, saying they understood why many Nigerians were offended.
“Whatever reactions we are getting online now is expected because it happened at a very sensitive period, and we are very sorry about it.
“On behalf of the percussionist and the whole band, we are very, very sorry about it. And to everyone who was hurt, disappointed, please, please, please, we are very, very sorry.”
Adekoya also stressed that nobody forced him to make the apology.
According to him, he decided to speak publicly because he believed it was the right thing to do and wanted to clear K1’s name.
“I’m not doing this video out of threat or pressure because I wasn’t pressured to do any video. I’m doing this with all honesty and sincerity.
“We had different versions to this alujo, but we accept the fact that it came at the very wrong time. Please, we are sorry.”
The controversy began after Ogechi Eleana alleged in an interview that K1 had abandoned both her and their 12-year-old daughter. The claim quickly attracted public attention and generated widespread reactions online, although K1 has not publicly responded in detail to the allegations.
When a video later surfaced showing the Fuji musician performing a song containing the phrase “unnecessary pregnancy,” many social media users linked it to the woman’s claims, accusing the singer of using the stage to mock the situation.
The incident triggered intense debate among fans and entertainment followers, with some defending the musician while others criticised the performance as insensitive given the timing.
Fuji music is known for its spontaneous stage performances, where musicians often improvise lyrics based on drum rhythms, audience interactions and current events. Such performances frequently include humorous or playful expressions created on the spot.
However, the latest controversy has highlighted how such improvisations can attract different interpretations, particularly when they coincide with widely discussed personal issues involving public figures.
Adekoya’s apology is the first public explanation from a member of K1’s band since the video went viral. By accepting responsibility, he sought to distance the Fuji star from the controversial interpretation while acknowledging that the timing of the performance was unfortunate.