Ojomusic’s Invisible Hand in Fola’s “All I Know”

By Joey Akan

Fola’s new single, All I Know, is a fresh entry into the Afrobeat space — melodic, introspective, and rhythmic. But behind the artist’s confident voice is another creative force whose fingerprints are all over the record: Ojomusic, the song’s co-writer and producer.

From the very first second, All I Know sets a distinct mood. The intro, a solemn piano progression, gently draws the listener in. It’s a subtle but effective production choice by Ojomusic, establishing an emotional foundation before the groove kicks in. Lyrically, the song reads like a self-affirmation — a bold prayer for visibility. Fola sings, with certainty, that “people must hear me, hear my song, dance to my song.” It’s more than confidence; it’s strategic manifestation. And it works.

While Fola brings charisma to the mic, Ojomusic handles the heavy lifting behind the scenes. His role goes beyond just making the beat. He is credited with co-writing, recording, mixing, and mastering the entire track — a rare feat in today’s segmented music production world. The end product is a cohesive and polished sound that’s helping the song gain traction across streaming platforms — no small feat for a track released less than a month ago.

Sonically, Ojomusic keeps the song rooted in Afrobeat tradition, starting with a steady bassline — a signature element of the genre. But he adds his twist: building momentum toward the chorus with syncopated kicks and rhythmic progressions that invite movement without drowning out the lyrics. This balance — between groove and message — is not always easy to achieve in Afrobeat, where danceability often overshadows lyrical clarity. Ojomusic manages to serve both.

One of the standout elements here is the duality of the writing. Most Afrobeat records tend to pick a lane — either motivational or dance-heavy. Rarely both. But All I Know blends these energies seamlessly. Ojomusic’s pen injects meaning into the bounce. It’s motivational music you can move to — a nuanced approach that hints at his songwriting maturity.

Toward the end, the producer even lends his voice to the record — a soft, signature vocal line: “Ohhh, Fola pon this,” paired with a reprise of the solemn piano from the intro. It’s a subtle flourish, but one that adds identity and cohesion, showing how even a producer’s vocal ad-libs can become part of a track’s brand.

If there’s any critique to be made, it’s the song’s brevity. At just over a minute long, All I Know ends too soon. One could argue that a second verse might have allowed both Fola and Ojomusic to explore deeper themes or introduce melodic variation. But on the flip side, the short runtime may be a deliberate artistic choice — a subversion of expectations that forces listeners to hit replay. In an age of dwindling attention spans, less might really be more.

In all, All I Know is a compact, smartly crafted Afrobeat record that showcases two rising talents doing something a little off-center — and pulling it off. Ojomusic, in particular, shines as a multi-dimensional creative whose behind-the-scenes work is foundational to the track’s success.

I’ll give it a solid 7/10. And if this collaboration is anything to go by, we should definitely be watching what Fola and Ojomusic cook up next.