Ayinla Omowura, in his lifetime, contributed immensely to the growth, innovation and potency of music in society through his social commentaries, teachings, criticism and communication of government policies and other social issues he addressed with his musical prowess.

Anigilaje, as he was fondly called, did not confine himself because of his inaccessibility to formal education; rather, he adorned himself with a command of Yoruba proverbs and street wisdom to become a powerful social commentator and an idol of Nigeria’s working class.

Waidi Ayinla Yusuf Gbogbolowo, better known as Ayinla Omowura, was born in 1933 into the family of Yusuff Gbogbolowo, a blacksmith, and Wuramotu Morenike, in Abeokuta, Ogun State. Because he could not access formal education, he started working at his father’s smithy but later left to take up several jobs as a driver, butcher, carpenter and motor boy.

While moving through these jobs, Ayinla had music at heart. He went from street to street in Abeokuta with his friends, busking with a rattle and his unique voice. To make the best out of his rare talent, in the early 1950s he chose to serve as an apprentice in a music band called Olalomi, a popular variant of Apala music at the time. During this period, he also worked as a backup singer for established masters.

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In the early 1950s, during his apprenticeship, Ayinla Omowura was discovered by Adewole Alao Oniluola while performing in the Abeokuta area, and he immediately began making impact in the music industry through the Apala genre. According to Oniluola, an established Apala drummer in Abeokuta, he began the search for a vocalist after fans suggested he get one to complement his performances. This search led to the discovery of Omowura, who was then a trainee under the late Apala musician Osho Oba.

After he began working with Oniluola, Ayinla fully transitioned into the Apala genre and, by 1970, signed with EMI Records. This ushered in a decade of massive success, during which each of his 20-plus albums reportedly sold at least 50,000 copies on release day.

Despite being unschooled, Egunmogaji was socially conscious and served as a link between the government and the people, creating awareness and offering explanations of new policies such as the 1973 National Census and the change from the Pound to the Naira currency. Ayinla, never economical with the truth, tongue-lashed women who bleached their skin or were promiscuous, while also singing about the virtues women should possess for a successful family, among other societal issues he addressed in his songs.

However, his fiery temperament also led to feuds with notable contemporaries, including Haruna Ishola, whom he later acknowledged as his superior, as well as a Fuji pioneer Ayinde Barrister, Fatai Olowonyo, Yesufu Olatunji and Dauda Epo Akara.

Tragically, at the peak of his career, Ayinla’s life was cut short. On May 6, 1980, at age 47, he was fatally struck on the head with a beer mug during a barroom fight in Ago-Ika, Abeokuta. His former manager, Fatai Bayewu, was said to have attacked him following a dispute over a motorcycle or possibly an argument involving a woman. The blow resulted in cerebral hemorrhage. Bayewu was later convicted of murder and sentenced to death.

In his lifetime, Ayinla released more than 20 albums, including Vol. 5: National Census 1973, Challenge Cup 1974, Owo Udoji and Late Murtala Mohammed. Popular tracks such as Awa Kis’olodi Won (We are not their enemies), Ebi Ki Pagun (Hunger does not kill a vulture), Nigeria O Le Ku (Nigeria is tough) and Aiye Nyi Po (The world is turning) continue to resonate with listeners.

Today, his lyrics remain subjects of study in Nigerian universities, particularly in the departments of Yoruba, Music and Theatre Arts. Numerous PhD theses have examined his masterful use of oral literature and social commentary, affirming his enduring legacy as one of Apala’s most influential voices.