Dr. Babatunji ‘TJ’ Dada: As Nigeria’s multi-talented maestro takes global stage…

 

 

Dr. Babatunji Oluseyi Dada, affectionately referred to as ‘TJ’ in his inner circles, is a musicologist, composer, producer and cultural icon from Nigeria whose work has struck a chord both at home and abroad. From humble musical beginnings in Ibadan to directing international concerts in the United States, Dr. Dada’s journey charts the evolution of a creative talent who bridged the gap between traditional African sounds and modern technology. This feature explores how Dr. Dada became a notable figure whose influence resonates from local choir stands to global arenas.

 

Early life and musical upbringing in Nigeria

Dr. Babatunji Dada was born in Ibadan but had primary and secondary education in Akure, Ondo State. His musical journey began in southwestern Nigeria, where he was immersed in the rich Yoruba musical heritage from an early age. Growing up in a community alive with rhythm, he absorbed the fundamentals of African rhythms in his local communities, school playgrounds, local festivities and the church. Family and mentors recognised his ear for music – before his voice broke, he was singing soprano alongside his mum in the choir and by the age of 13, he assumed the role of the substantive local church organist. He honed his talents in school (as Chapel Prefect and pianist at Oyemekun Grammar School Akure) and church groups, gaining a reputation as a prodigy in African and classical piano. These formative experiences built a foundation of versatility: a musician equally comfortable with folk drums and formal music notation.

 

From computer science to a career in Musicology

In a bold move driven by passion, Dada pivoted from programming to performance after completing his initial degree. After 17 years of post-graduation career as a recording studio owner and digital music producer, he returned to academia – this time to study music full-time. Dada pursued formal training in music theory and composition at the University of Lagos, determined to master the art form he loved. His technical background became an asset rather than a detour: he applied the analytical rigour of a scientist to the study of harmonies and rhythms, bringing fresh perspectives to the Department of Music. Professors and peers quickly noticed his unique blend of skills, and he delved into musicology research with zeal.

Dada’s academic climb culminated in a Doctor of Philosophy (PhD) in Musicology from the University of Lagos. His doctoral work zeroed in on something distinctly Nigerian – the “standard pattern” rhythm – a fundamental West African rhythmic motif. He investigated the structure and parameters of this indigenous element in Naija hip-hop music. Earning his PhD marked Dada’s complete transformation from a computer scientist cum music producer into a scholar of music. It also made him one of the few experts straddling both the arts and STEM, a dual expertise he would leverage throughout his career. In addition to core music courses, he taught courses that border on music and technology like digital music production, computers in music and acoustics. “My tech knowledge helps me visualise music in structures,” he once explained to students, noting how programming logic informed his musical perspectives and compositions. The transition was complete: Dr. Babatunji Dada had emerged as a leading musicologist, without ever losing the tech-savvy mindset of his earlier studies.

 

Researching the rhythms that unite a nation and its diaspora

A Yorùbá dùndún talking drum, an example of the West African percussion heritage at the heart of Dr. Dada’s research. his scholarly curiosity led him to investigate the “standard pattern” rhythm, a timeless five-stroke bell pattern common in many African musical traditions. In his PhD thesis and subsequent publications, he examined how this ubiquitous rhythmic motif appears in modern Nigerian pop, especially the hip-hop fusion genre known as Naija hip-hop. His research revealed that contemporary hits subtly embed the same traditional cadence long used in village drum circles – an unmistakable African heartbeat amid the slick beats of hip-hop. By analysing dozens of songs, Dada demonstrated that the standard pattern serves as a musical DNA, giving Nigerian hip-hop a unique identity and Afrocentric flavor.

 

Producing the Oyo State anthem and earning recognition

One of Dr. Dada’s proudest achievements literally became the pride of a people: he co-composed the official Oyo State anthem, titled ‘Asiwaju Ni Wa’. Created roughly a decade ago, this uplifting Yoruba-English anthem (meaning ‘We are Leaders’) celebrates the heritage and aspirations of Oyo State. For years, schoolchildren and civil servants started their day singing the anthem’s stirring lyrics and melody – even as the composers remained unsung heroes. Dr. Dada had crafted the music in partnership with another composer during the administration of Governor Abiola Ajimobi, but initially received little formal recognition or compensation for the work. He continued his academic and production endeavors, content that his contribution was part of Oyo’s cultural fabric.

That changed in 2024, when the Oyo State Government decided to officially honour the creators of ‘Asiwaju Ni Wa’. In a gesture acknowledging the anthem’s importance, Governor Seyi Makinde approved a ₦25 million cash grant, to compensate the anthem’s composers and producers. The news came via a public announcement – after an executive council meeting, the Information Commissioner listed the payment as a long-overdue reward. Along with the funds, Dr. Dada and his co-composer were each allocated a parcel of land and even had streets slated to be named after them. It was an extraordinary moment: a state government shining the spotlight on a creative contributor who had toiled in relative anonymity. For Dada, the recognition was less about the money and more about validation. “I did it for love of the state,” he said in a brief thank-you message, dedicating the honour to all unsung artists serving their communities. The anthem experience also exemplified how Dada’s work bridges academia, art, and civic life – he often notes that a well-crafted song can become a unifying symbol, as “Asiwaju Ni Wa” has for Oyo State. Today, the anthem stands as a lasting legacy of Dr. Dada’s commitment to culture, played at official events and instilling pride in indigenes of the state. His other works include the University of Ibadan’s Faculty of Science and College of Postgraduate Studies anthems.

 

Orchestrating high-profile events on international stages

Dr. Dada’s talents have carried him far beyond Nigeria’s borders, leading to key roles in major international musical events. In recent years, he has become known for directing and orchestrating multicultural concerts that showcase African musical elements on global stages. One such event is ‘The Sound of Christmas – Kérésìmesì’, an annual cross-cultural Christmas carol concert held in Los Angeles. Dada served as the band director and orchestrator for this spectacular production, which is renowned for its immigrant community outreach and synergetic blend of diverse cultural expressions with West African percussion. Under his direction, familiar Christmas classics like “Joy to the World” and his premiered composition ‘Kérésìmesì’ are reimagined with talking drums, Yoruba choral arrangements, and even a dash of Afrobeat. The result is a truly international carol service – Nigerian-Americans dancing to gángan drum rhythms alongside other Angelenos, as Dada conducts with spirited precision. “It feels just like back home, but in Hollywood,” one attendee remarked of the 2024 concert, marveling at how seamlessly Dada brought a Nigerian festive flair to an American stage.

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Pillar of the Gospel music community

Back home in Nigeria, Dr Dada has long been a pillar of the gospel music scene, both as a creator and a mentor. He first made his mark in church music circles, serving for years as a music director in various congregations where he trained choirs and wrote original gospel songs that are still sung today. Dada’s deep involvement in gospel music goes beyond performance – he has also contributed to its scholarship and organization. In 2010, he co-authored a seminal paper on the training of gospel musicians in South-West Nigeria, highlighting the informal mentorship and apprenticeship methods that shaped many church musicians (much as he himself was shaped). This blend of practical and academic engagement lent him a unique authority in the gospel genre.

Recognising his leadership, peers elected Dada into key roles in national gospel music associations. Notably, he has been a prominent member of FOGMMON (Fellowship of Gospel Music Ministers of Nigeria) an umbrella body that brings together gospel artistes to professionalise and uplift the industry. Within FOGMMON’s Oyo State chapter, Dada played significant roles in the musical workshops, benefit concerts, and networking events for Christian musicians. ‘Uncle TJ’ as younger gospel singers fondly call him, is known for giving frank guidance on vocal technique, stagecraft, and maintaining spiritual focus. Under his guidance, several church choirs in Ibadan and beyond have improved their sound.

 

Lecturer and mentor at the University of Ibadan

After conquering so many facets of the music world, Dr. Dada has devoted himself to nurturing new talent through academia. He is currently a lecturer in the Department of Music at the University of Ibadan, the very institution where he earned his first degree in the Sciences. In classrooms and rehearsal halls, Dada is known for being as dynamic a teacher as he is a performer. He lectures on music theory, composition, and ethnomusicology, often spicing up his classes with real-world examples from his own career. Thanks to his background in technology, he introduced courses in music production and computers in music to the curriculum, pushing the university to stay current. He demonstrates MIDI software and digital recording techniques – effectively bringing a mini-recording studio into the lecture room. “Our students should graduate fluent in both manuscript and software,” he said of his teaching philosophy, which seamlessly blends classical training with modern innovation.

Global impact and cultural legacy

Today, Dada stands as a testament to the global reach of Nigeria’s creative talent. He has become something of a cultural ambassador, often traveling to work with Nigerian immigrant communities in the United Kingdom and the United States. From London church conferences to African cultural festivals in California, Dada’s expertise is sought to direct choirs, lead workshops, and speak about the importance of preserving musical heritage. In these diaspora settings, he seamlessly moves between roles – one moment lecturing on the history of Yoruba dùndún drums, the next moment teaching a group of British-born Nigerian teenagers how to sing a chorus in Yoruba properly. His presence lends credibility and a touch of home to Nigerians abroad, while also educating international audiences about the depth of African musical traditions.

At a time when Nigerian music (from Afrobeats to gospel) is taking the world by storm, Dr. Dada’s work provides essential context and continuity. He often reminds younger artistes that the beats making global charts today have roots reaching back to our villages. By highlighting those connections, he instills pride in cultural identity. It’s a subtle form of diplomacy – using music to build bridges. 

As he enters the later stages of an illustrious career, Dada shows no signs of slowing down. He continues to balance multiple hats with grace: on any given day you might find him in a university meeting on curriculum, an afternoon recording session at his studio, and an evening choir practice preparing for Sunday service. His life’s work has created a ripple effect – through his students, his recordings, and his published research, the influence of Dr. Dada will echo for generations. In an interview, he once likened music to a living language that must be passed on, “Each generation adds its verse to the song,” he said. “I see myself as both a contributor and a custodian to ensure the song never dies.” Indeed, thanks to passionate custodians like Dr. Babatunji Dada, Nigeria’s song only gets louder on the global stage, resonating with creativity, faith, and an enduring beat that the whole world can dance to.