There is a certain responsibility that comes with inheriting the surname of one of Africa’s most enigmatic musical innovators. For Charles Onyeabor, the eldest son of the late Nigerian electro-funk pioneer William Onyeabor, this has been one that has shaped his shoulders so far, so much that it inspired his latest album, Legacy Continua.

Released in the thick of summer, the album extends the young musician’s fascination with Afrobeats, funk, reggae and soul, musical influences that have become motifs in his catalogue since his professional takeoff in 2020. The project also arrives at an interesting point in his career, following years of live performances across Europe even as he expands his Italian fanbase and surrounding environs.

William Onyeabor, who died in 2017, remains widely celebrated for his pioneering experiments with synthesizers, electronic funk and psychedelic African music. His recordings, including Atomic Bomb and Fantastic Man, have continued to attract international attention long after their original releases. For Charles, however, the legendary musician was first a father, a disciplinarian and a man whose uncompromising philosophy of life remains deeply ingrained in his children.

“My father was a very intentional man. He was disciplined, hardworking, straightforward, and always focused on what he wanted to achieve. His approach to life influenced me just as much as his music,” Onyeabor recalls.

Interestingly, Charles has spent much of his career exploring a different musical direction, drawing from contemporary African pop and other international influences. His latest album, featuring collaborations with Tommy Kuti, Justin Onyeabor, Vas Angelov and others, further explores this bohemian-but-evolving musical identity.

Unlike his father, he’s also a very avid stage performer. His recent sold-out headline concert in Florence, Italy, is proof of his alluring stagecraft. Having lived in Italy since 2003, Charles has gradually built a performance career that has seen him share stages with several prominent African and international musicians, including P-Square, Ruger, Offset and ODUMODUBLVCK.

For the singer, these experiences have strengthened his conviction that the Onyeabor legacy must continue evolving. As he explains, the philosophy behind Legacy Continua is deeply personal.

“I see myself as the continuation of a legacy, not a copy of it. My father laid a foundation, and my responsibility is to build on it while creating something that is authentically mine.”

Catching up with Guardian Music, Charles reflects on his father’s influence, his musical awakening, the making of Legacy Continua, and the experiences shaping his ambitions as an African musician in Europe, among others.

Your father occupies a particularly iconic place in African music history. Growing up around him, how much did you understand about the significance of his music?
When he was alive, I knew his work was important, but I don’t think I fully grasped just how far-reaching his influence was. After his passing, I started to see his music through a different lens, not just as his child, but as someone witnessing how the world connects with what he created.

Beyond his musical genius, what do you remember most vividly about William Onyeabor as a father?
He was extremely intentional, a real workaholic, and a go-getter. He was also a strong believer in Jesus Christ and a very straightforward man who never hesitated to speak the truth, even if it meant losing what he valued most.
One of the things he always said that stuck with me is, “Something must kill a man.”

You’ve spoken about spending almost 18 years away from music before returning to it. How did your father’s passing influence that decision?
After my father passed, I started thinking a lot about his legacy and how to keep it alive. The challenge was, I didn’t really know how to go about it. I felt quite lost and unsure of my direction.

Carrying the Onyeabor surname must come with considerable expectations. How did you navigate that pressure, particularly as you started developing your own musical identity?
There’s pressure, no doubt. When you carry the Onyeabor name, people already have expectations before you even say a word or drop a note. That can feel heavy sometimes because you know what that name represents. But I don’t let that pressure box me in.

Your father was celebrated for his unconventional approach to music. How experimental would you say you are?
My father’s music was experimental. He was never afraid to explore sounds and ideas that were different from what people expected. That spirit taught me not to limit myself creatively.

When I’m doing music, I don’t think about how my father did his own music. I just let everything out naturally. His own time was different. The groove was different. There was no Amapiano back then. There were no digital stores or social media. So I can’t use his era to compare this era.

Your latest album, Legacy Continua, appears to bring these conversations about inheritance and individuality into focus. What inspired the record?
I see myself as the continuation of a legacy, not a copy of it. My father laid a foundation, and my responsibility is to build on it while creating something that is authentically mine. That is the philosophy behind my album Legacy Continua.

How would you describe the musical direction you’re pursuing at this stage of your career?
When I’m doing music, I don’t think about how my father did his own music. I just let everything out naturally.
If you know me well, you will know that I have it in me. And it’s gradually unleashing.

You recently staged your headline concert in Florence. What made that particular performance significant for you?
The atmosphere was incredible. The Charles Onyeabor Show 2026 was more than just a concert; it was a celebration of music, culture, identity and connection. Seeing people come together in Florence to celebrate what I represent was a powerful experience.

What made the night particularly special was the energy from the audience. From the moment I stepped onto the stage, with the cameras, lights and crowd all around me, I could feel that connection.

You’ve opened for several major performers across Europe, including Ruger, P-Square and ODUMODUBLVCK. Was there a particular performance that fundamentally changed your understanding of live music?
A major moment for me was opening for Ruger in Bologna in 2024. During the soundcheck, I saw something that really inspired me. It wasn’t a DJ set, it was a full band, everything tight, intentional, alive.

That moment made me fall in love with live performance on a deeper level.

Performance is really about energy and honesty more than anything else. It’s not about trying to impress people. It’s about making them feel something.

Having lived in Italy for more than two decades, how do you interpret the growing international appetite for African music, especially considering your father’s contributions to its history?
African music getting global attention now is powerful, but it’s not new. Artists like my father were already creating sounds that the world is only just catching up to.

One of your earlier songs, “You Can’t Tell Me Nothing,” seems particularly concerned with self-belief and artistic independence. Was that record also a response to the expectations surrounding your career?
No matter what you say or do, I’m still making my money; I’m still valid. I’m still doing my music my way. You can’t break me.

Finally, when people speak about Charles Onyeabor in another 20 or 30 years, what would you want your own contribution to African music to represent?
I want Charles Onyeabor to represent growth, evolution, and fearlessness. Someone who took the foundation and pushed it into new spaces, to the next level, creatively and culturally. Something that speaks long after I’m gone. For my kids, just like my father did for us.