ANYONE who grew up binging the classic highlife tunes of Eastern and Western Nigeria, especially from the ‘70s, would appreciate highlife’s wholesome exploration of the guitar as a melodic lead in any composition.
From the crude traditions of Osita Osadebe, Cardinal Rex Lawson, in Nigeria, and even from neighbouring countries like Dr Sooleman Rogie of Sierra Leone and E.T. Mensah of Ghana, highlife has survived several decades of progressive fusions. It’s quite exciting to see that, in 2025, the genre is still inspiring new voices to give it life in diverse expressions. A good case in study would be the work of Olaleka Agbaje, better known as Hurlastringz, a Christian gospel musician whose fusion of highlife and Afro Christian Gospel continues to stretch both genres in progressive ways.
With two intriguing releases, “Highlife Special” and “Jelenke Freestyle”, both released within the past two months, Hurlastringz captures attention with his clever arrangements, delivery and exploration of highlife music.
In “Highlife Special”, he kicks off the groove with a slow-burn pace that combines folk percussion with the soothing highlife bass riffs that jerks the song to life. He dashes through several trills, intentional pauses and solo improvs, especially from the 1:30 mark, pulsing the 4-min instrumental recording with high energy. His melodic phrasing, or interpretation, of the songs in the medley also conjure ample relatability, as most of the songs that were interpreted are contemporary Nigerian Gospel praise jams.
As far as progressing the genre goes, Hurlastringz dials it up a notch in “Jelenke”, where he combines his raspy guitar riffs with traditional Yoruba percussion in a hyperactive, dancey groove that keeps one on their toes from start to finish.
While the guitar serves as both a lead and percussive instrument, its synergy with the other percussions in the composition smoothen its enjoyability. Here, he also tributes highlife legend, Sir Victor Uwaifo, by melodically phrasing his hit songs, “Joromi” and “Guitar Boy”, creating a bridge between contemporary gospel and heritage-fueled secular music.
This particular track unlocks both nostalgia and catharsis, as it peels layers of vintage Nigerian highlife to reveal this progressive Nigerian gospel twist. One particular highlight in this composition is his good use of staccato picking (sounds more like brief repeated riffs), arpeggio rolls (quicker broken chords played repeatedly) and ascending riffs (higher pitched riffs that usually suggest a transition).
All of these styles basically point to how he was able to play the notes so quickly, and keep it as melodic and groovy as a typical highlife track should sound.
Overall, Hurlastringz has quite a potentially prosperous run ahead of him. If he intends to continue this Nigerian gospel praise and soul fusions with highlife, then he should also explore including vocal sections and even backing choirs. While the cultural significance of him exploring highlife music, first as a Christian gospel artist, and secondly as a diasporan act, is immensely good for the genre, his fusions might not connect totally if they’re fused without vocals. The reason is the melodies, on their own, do not pack the required replay value for listenership purposes; although they are definitely better purposed for stage performances.
Nonetheless, Hurlastringz’ compositions, melodic phrasing prowess, and cathartic groove in “Jelenke Freestyle” and “Highlife Special” propel the songs as enjoyable spins, and they signal an iconic evolution of highlife music across the Nigerian Christian gospel scene.
