When Tolibian‘s “Ramadan” first dropped in 2024, few could have predicted it would become the soundtrack of an entire fasting season.
The Ilorin-born artiste, whose real name is Abdul-Motolib, had spent years building an audience through comedy skits with The Cute Abiola Entertainment (TCA) and engaging live music duets on TikTok.
But it was “Ramadan” that catapulted him into mainstream consciousness during the 2025 Ramadan season, which, notably, proved that Nigerian pop music had room for something beyond the Afrobeats formula.
Now, with a new remix featuring gospel legend Yinka Ayefele and rising star BahdboiOML, Tolibian continues to explore the intersections of faith, culture, and contemporary Nigerian pop. Drawing on his Islamic heritage and Yoruba traditions, he crafts music that resonates with audiences across religious and cultural boundaries, balancing specificity with universal appeal, a balance rooted in his upbringing in Kwara State, where both parents filled the home with folk tales, Fuji, Apala, and Juju music.
Unlike many contemporary Nigerian artistes who treat traditional sounds as occasional garnish, he positions them at the centre of his work.
“I feel like music found me naturally,” he says. “Because I grew up immersed in it, creating music didn’t feel forced. It felt familiar. I already had that foundation from years of listening and absorbing different traditional sounds.”
In an exclusive interview with The Nollywood Reporter, Tolibian reflects on the journey of the “Ramadan” record, the strategy behind its remixes, and how his upbringing in Kwara State continues to shape his sound.
From Comedy Skits to Cultural Anthems
Before “Ramadan” made him a household name, Tolibian spent years honing his craft in less conventional spaces. As part of The Cute Abiola Entertainment stable, he built a following through comedy skits. It’s a route that has become increasingly common for Nigerian artistes seeking visibility in an oversaturated market.
For instance, Nasboi successfully transitioned from skits to building a solid music career, Josh2Funny releases music alongside his comedy content, and EmmaOMG, now one of Nigeria’s most popular gospel artistes, also started as a skit maker. For emerging artistes, content creation has become as important as the music itself.
“I think skit-making and music actually work hand in hand,” he reflects. “As an artiste today, you still need content creation to push your music and stay visible. For me, though, music is the main focus right now.”
Yet comedy was never meant to be permanent. It was always a stepping stone toward something deeper. That shift became apparent with his 2021 release “Abaya,” a storytelling-driven track featuring Raybekah that gave him his first taste of recognition.
Released ahead of Eid-el-Kabir festivities, “Abaya” established the template Tolibian would later perfect with “Ramadan”: faith-centred lyrics, culturally rooted production, and an emotional sincerity that resonated beyond religious boundaries.
“Skit-making was a phase of expression. It helped me gain visibility and connect with people,” he says. “But as humans, we grow and evolve. Right now, I’m channelling that creative energy fully into my music.”
His artiste name, Tolibian, pronounced Toh-lee-bahn carries that same duality. Derived from his birth name Abdul-Motolib, it started as a nickname before evolving into a creative identity. “The name reflects my roots and my culture, but it also represents openness to the world,” he explains. “It blends my identity with my expression. For me, Tolibian isn’t just a stage name; it’s a reflection of where I’m from and how I choose to tell my stories through music.”
Building the “Ramadan” Franchise
When “Ramadan” became a viral sensation in 2025, months after its 2024 release, it proved that faith-based music could achieve mainstream success without diluting its spiritual message. The song’s addictive hook, paired with its celebration of the holy month, made it impossible to avoid during the fasting season. But rather than simply riding that wave until it crashed, Tolibian made a strategic decision: turn “Ramadan” into something bigger.
“The song was already doing well, even after Ramadan ended, so it made sense to build on that momentum,” he says. The first remix featured Afrobeats heavyweights Odumodublvck and BOJ, giving the track a more urban, contemporary edge. This year’s version, however, takes a different approach entirely.
“I wanted to create a fresh combination this year, and thanks to my team, we were able to bring in Yinka Ayefele and BahdboiOML for the remix,” Tolibian explains. “It felt like the right way to extend the life of the track while adding new energy to it.”
The collaboration with Yinka Ayefele is particularly significant. The veteran musician, known for his deeply spiritual Juju-Gospel fusion, represents a different generation and aesthetic. Yet his presence on “Ramadan” feels organic rather than forced.
It’s a reminder that Nigerian music’s traditional sounds are living, evolving forms that can speak to contemporary realities. For Tolibian, working with Ayefele was both a professional milestone and a personal one. “Honestly, he’s someone I grew up listening to. You know, so many of us did,” he says, his voice warm with admiration. “Working with him was an incredible moment for me. It was insightful and productive; I learned a lot during our time in the studio. The remix turned out great, and I truly cherish that experience.”
The collaboration came together organically, he notes, though coordinated efforts from both teams helped make it happen. “It was a mix of natural connection and good coordination.”
Faith, Strategy, and Building a Movement
Between “Abaya,” “Ramadan,” and last year’s “Latasan”inspired by the Arabic phrase “Latansa Muradina” (I won’t forget my purpose), Tolibian has carved out a distinctive space in Nigerian pop. His music centres on Islamic themes, Arabic language, and cultural traditions in ways that feel radical in an industry where Afro-Gospel dominates the faith-based music conversation.
Yet he’s careful not to be pigeonholed. “My music often draws from Islamic themes, Arabic language, proverbs, and cultural traditions, but I don’t see myself as being limited to the category of Islamic musicians,” he clarifies. “I stay rooted in my identity, but my sound is universal.”
That universality comes from his approach to cultural elements. Rather than treating them as exclusive markers, he presents them as entry points. “That’s why songs like ‘Latasan’ carry traditional elements like the lyrics ‘Sari Tito’. I love to infuse my culture into my music,” he explains. “It might feel religious to some listeners, but for me, it’s more about sharing my roots. I still make music that doesn’t focus on Arabic or Islamic topics. My goal is to create music that carries my culture and can resonate anywhere, even without translation.”
It’s a delicate balance, remaining authentic to his faith and heritage while refusing to be ghettoised as “just” an Islamic artiste. But balancing authenticity with accessibility is only part of the equation, knowing how to sustain momentum is another.
The “Ramadan” remixes reveal his strategic thinking. Rather than treating a hit song as a one-time event, he’s building it into a recurring cultural moment, much like Christmas songs return annually, or how “This Year (Odun Yi)” by Jaywon spikes every January.
When asked if he plans to continue this multi-remix strategy, he’s emphatic. He’s looking forward to creating multiple new tracks for Ramadan, not just reworking the same song, but with new beats, new songs, and fresh ideas. He envisions bringing together both established and emerging artistes for future remixes, hoping it might even become a cultural tradition over time.
His wish list for future collaborations reflects that same blend of tradition and contemporary relevance. “I’d love to work with artistes who bring depth and tradition,” he says. “Someone like K1 De Ultimate, for example, he embodies that rich cultural sound. Burna Boy is another; he’s a poet when it comes to writing and making music. I’d also be excited to collaborate with Asake, Olamide, and anyone who’s committed to making good, meaningful music.”
Expanding the Vision
As 2025 unfolds, Tolibian is preparing for his next major move: a debut album. Though he admits he hasn’t settled on a title yet, he’s excited about what’s coming.
“They should be looking forward to my album this year,” he says. “I’ve been in the kitchen cooking some amazing music for my fans. I can’t wait.”
If the album maintains the same cultural specificity and sonic richness as his previous work, it could solidify Tolibian’s position as one of Nigerian music’s most interesting voices, an artiste who refuses to choose between faith and mainstream appeal, between tradition and modernity, between his roots and the world.
In an industry often criticised for favouring sonic homogeneity, Tolibian’s success with “Ramadan” and its various iterations suggests there’s room for artistes who dare to be specific. His music doesn’t try to be everything to everyone; instead, it offers something particular, deeply rooted in Fuji and Apala traditions, and trusts that specificity, when done with conviction and craft, can resonate universally.
As he prepares to release new music and expand his creative vision, one thing is clear: Tolibian isn’t just making songs for Ramadan. He’s building a blueprint for how Nigerian artistes can honour their faith, culture, and traditions while creating music that moves the entire country, and beyond.