Falz’s rousing performance on his just-released album, The Feast, goes beyond a melangé of personas, cadences, and sound styles; on the 12-track album, the award-winning musician reaffirms his identity as a versatile and evolving crooner.

“I just let the music take its course,” Falz boomed into the mic. “With music, I don’t want to make it a textbook process.”

From his early-career comedy skits on social media to his socio-political activism, and fusion-focused discography, Falz’s versatility has been one of his most consistent markers across his 16-year discography. On his latest and eighth studio album, The Feast, he serves a 12-track diet of his vibrant music styles, extending his legacy with more food for thought.

Across the album, Falz raps and sings in different musical styles, from his activism-charged “Anything goes in Lagos” chants on the Drill-leaning Anything Goes (with Odumodublvck), to the Jújù-toned dance or ‘Owambe’ bop, No Less, to the private school Amapiano in Dance With You, to the riveting Fela Kuti’s 1973 Jeun Ko Ku track sample on Wayo (with Grammy-nominee D-Smoke), and the RnB spinner Famomi (with DOTTi The Deity), among others.

Each track tells stories that reflect his experiences and stance on self-improvement, survival, oppression, romantic love, and other human-interest stories.

With relatable storytelling, wit, and an ear for exciting new fusions, Falz The Bahd Guy, born Folarin Falana, has stamped his mark on the Nigerian music scene, especially for his groovy yet profound Hip Hop.

The trained lawyer and award-winning actor catches up with Guardian Music to discuss the diverse musical flavours behind The Feast, detailing his creative experiences and muses, as well as his plans to create more music for catharsis.

Tell us why you named your new album, The Feast.

It is a feast of different genres of music. It reflects different types and styles of music, and it’s loaded with so many different and interesting collaborations as well. But even more so, it’s a feast of all the different versions of Falz.

I have always made different types of music, with different vibes. When it comes to the feeling my music brings, I just tried to combine everything in this album. That is why it is called The Feast.

Versatility has been one of your strongest suits. How does it influence your creative process?
I try not to overthink the process. I’ve gotten to a point where I just allow the music to lead. I just let the music take its course. I see what the music feels like, see what the direction feels like, and I just continue going on that route.

I don’t want to make the music feel like a textbook process so it doesn’t become too mechanical. Music requires a very free hand of creativity when making it, and that’s what I try to do as best as possible.

Where did you record most of the songs?

Most of the songs were recorded in Lagos, although I was really all over the place. We travelled a lot during the process. We camped out in Abuja at some point. I mean, it helps us to stay fresh while creating.

When I say ‘us’, I mean myself and the producers that worked together. Then when I spoke to the collaborators, I said, “Look, this is what I’m trying to do.” And as soon as they caught on the vibe, it was very straightforward to create.

There was no difficulty in making any song happen. As soon as they tapped in and saw the vision, they were all excited to be on the project. So, it was really smooth sailing.

Any favourite experiences making the album?

Everything was intriguing. One song I can try to point out for its intrigue when making it is No Less; it was very exciting to create because we imagined ourselves at a party. We had to really soak ourselves in that Owambe feeling, and that was what we were trying to capture with that song. It is also important on this album because it’s the song that actually captures a feast in an African context.

You also brought on Fela Kuti’s Afrobeat influence on some tracks. Tell us about the experience.
It has always been one of my huge influences. We sampled Fela Kuti on the song Wayo with D-Smoke. The Fela Kuti sample we used there was from a song called Jeun Ko Ku. That song has so much energy, and it just captures the essence of rebellion and resistance. It represents a resistance to oppression or any form of torment.

There’s an inspirational song called Wonderfully Made. What inspired this record?
I would like to give a big shoutout to Oiza and Meyi, a super-talented duo. We just agreed that we were going to make a song that was big on positivity. And that was very fitting because the general outlook of the album is one of upliftment, you know, one that just lifts your spirit. And so that was just right down our alley.

We also just thought, “Okay, why not focus on the women?” The Black woman in the grand scheme of the world is probably the most downtrodden, just in the sense of discrimination and oppression. And we just felt like something that bigs her up, something that jigs up her mentality and her energy, and that’s what we were trying to do with that.

From your discography to even the visuals, you seem to have a thing for the military.
I think the military is just a very vivid representation of aggression or manpower. And that’s why it’s a recurring theme. That’s why it comes up every now and then; because when you try to portray power like aggression, the military or the army of soldiers are usually at the forefront of that description.

So it is a strong sense of identity that’s never going to fade, in the sense that this is who I am and this is who I’m always going to be like. I’m certain of myself, and I’m entering into the fullness of that, and that sort of aggression that we use to capture that is what made us title it Old Soja.

How do you draw inspiration to make music?
Inspiration comes from things that happen around me. The music I listen to inspires me largely. I am inspired by most of the events that occur around me, music that is very relatable, music that tells stories! I am deeply inspired by stories. I’m inspired by creativity and just real-life happenings.

Speaking of real-life happenings, how do you feel about the country presently?
It is just the fact that we are in 2025 and there’s still no trajectory of improvement. With how bad everything has gotten and how much clamour there has been for some sort of change or improvement, you would think that at least, at this point, we would have started the journey. Now, everything appears very hopeless, and it’s really demoralising to see.

What are you up to when you’re not making music?
I’m a casual guy in the sense that I like to catch a break and just relax when I’m not working, maybe on stage or going out or something. I like to just catch a break. I like to play video games. I’m a sports guy, so I like to play football. I watch football as well. I’m a big Arsenal fan.

So, what next are we expecting from Falz, The Bahd Guy?
After The Feast, we’re coming through with some more fire. I’m not stopping anytime soon. It’s back to back to back, so expect a lot more fire.

Are we seeing you on stage soon?
Yeah, definitely, I’m trying to make sure that, this year, I do my own show here in Lagos.

Finally, what would you say is the vision for Falz, The Bahd Guy?
I think the vision is just to create an impactful legacy. For me, that’s always been the most important legacy. I want that legacy to be one of impact, one of inspiration, one that inspires the messages of resilience and sacrifice.