Born in Kwara State, Tolu Obanro spent his formative years between Lokoja, Kogi State where he had his secondary education, and Minna, Niger State where he studied Geology at the Federal University of Technology, Minna. Setting out as a gospel music producer, Obanro worked with a couple of artists in the industry. He then evolved into sound design, focusing on advertisements, and soon got into handling sounds for Nollywood films. Obanro opens up on his journey, his works, winning an AMVCA, and more. Ferdinand Ekechukwu brings the excerpts
Can you take us through your journey into the Nigerian film industry particularly how you became the go-to film score composer and sound designer?
I started out producing gospel songs. Some of them became quite popular, like You Are God, You Are Not Just Big o… After a while, I began experimenting with sound design for adverts, just short 45-second clips. Later, I got projects from FIRS, cleaning dialogues week after week for about three years. That process of dialogue cleaning, editing, and mixing really shaped my foundation. From there, I met and got film opportunities through (one) Dr. Bayo. He would send me projects like King of Boys, Your Excellency, Man of God and later Prophetess. That was how I started. By the time King of Thieves came along, people began associating me with the music and sound. Eventually, I handled projects like House of Secrets completely on my own, from dialogue to foley, SFX, sound design, and final mix. That was when people began to really recognize my sound.
How would you describe your general experience of working on the project that won you Best Music Score at the 2025 AMVCA for Seven Doors, reflecting on any challenges it posed?
I worked on both Seven Doors and Lisabi around the same time. Seven Doors was different. At first, I was not sure how to approach it because I was already working on something else entirely. I had to take a break from the work I was doing at the time and give serious attention to Seven Doors. Working on Seven Doors was stressful to us because we had a couple of ups and downs and sudden changes that affected the sounds. But that was just it. There were no challenges for me in working on the sounds themselves.
You also once worked in the oil and gas industry, which is very different from film and sound. How did the shift from that to your current career happen?
Yes, I worked briefly in oil and gas, but my passion was always in sound and music. I studied Geology at the University of Minna. The discipline from Geology may have helped me in some way, but I knew where my heart truly was.
When you are contacted to score a film or handle the sound design, how do you usually prepare and plan for the execution?
It begins with the script. If I know early enough that I will handle the sound and music, I study the script and suggest things that will make the work easier and stronger. I also like being on set. On Jagun Jagun, for example, I insisted on being present. I picked up sounds directly and created the trailer soundtrack while the film was still being shot. That was the first of its kind and it worked beautifully. Being on set allows me to talk with directors, suggest ways to leave space for sound, or rethink scenes to heighten the experience. Many Nigerian directors are open to such ideas, and it makes the work better. My goal is always to give my sound intensity and identity so that when people hear it, they know it is me. I build every one of my sounds from scratch. On Seven Doors, people thought those big sounds came from abroad, but I played everything live, starting with the piano and layering track after track. Sometimes I sample instruments like violins, but I still play them myself. It takes time, but it keeps the work original.
To what extent does the genre of a film influence your approach to scoring and sound design, especially when comparing your work?
In the beginning, I had the opportunity to help define the sound for (some) Nigerian epics, starting with King of Thieves. That experience showed me how much genre shapes sound design. To do something different, you first have to understand what makes a genre distinct. Sometimes films look modern but sound epic or classical, which feels intrusive because the sound does not belong. It is important to consider both genre and period. Scoring a film set in 1901 with 2025 music, for example, does not work. In Ginger, though set in 2025, the opening voiceover recalls the 1990s, so the music reflected the rhythms of that era. Seven Doors spans two timelines, so the score alternated between blending and distinguishing them. That is why, whenever I approach a film, I first ask myself the questions: What is this film? Where and when is it set? What is it saying? Once I understand that, I can experiment within context. For Ginger, the futuristic setting allowed me to mix Amapiano, rap, and traditional epic sounds because the story supported it. Above all, the sound must elevate each scene while staying true to the world and genre of the film.
You’ve been credited on projects like Makemation, an AI-themed film, and Red Circle, both of which gained traction in cinemas. How would you say your approach to these recent projects differs from your earlier work?
I had been talking about Makemation for almost two years before production started. This may not show directly in the intensity of the sound, but it definitely shaped the sound of the film. In Makemation, you will notice that every sound design choice and every piece of music was carefully thought out, from the Hausa songs to the Igbo songs, everything was intentional. I also insisted that everyone who contributed songs used AI as an assist in their writing, since it was an AI film. That way, when someone asks how we worked on an AI-themed project, we can confidently say that AI also assisted in the creation of the music. Because of my work on this film, I have received international offers and jobs from outside Nigeria. Red Circle is made by Nora Awolowo, who is an incredible executive producer and a close friend of mine. While working on this film, Nora and I had a lot of late night talks, sometimes around 11pm, and there were even times she showed up at my place.
Beyond creating films, you are now influencing the next generation through masterclasses. How important is this teaching and mentoring side of your career to you?
Over the years, people have asked me to host a masterclass, but I had never really put one together myself. In the meantime, I have witnessed my works being studied in academic spaces, which is surprising and humbling. For example, a music student from UNILAG contacted me for a project based on Lisabi, a film I scored, while another student from OAU worked on Seven Doors. So when I finally held the masterclass at the film school in Jos the response was overwhelming. One of the lecturers told me it was an honour to meet me, and the students were so excited. I was almost in tears when the lecturer made me realize my works have now become part of academia, that people study why I compose the way I do and why I approach sounds the way I do. That kind of recognition makes all the sacrifices worthwhile because the way I work has affected a significant part of my life. I work constantly. I am always on the road, always creating, often with little time left for family and friends. But moments like this remind me why I do it. I have also received more invitations for masterclasses and I am doing my best to mentor young talents. I now try to respond to social media messages, answer questions, and help where I can. As for my own personal masterclass, it is definitely coming soon. The only reason it hasn’t happened yet is because I want it to be on the right level. I am looking for strong sponsors and partners, because I don’t want it to be just another regular class. My journey and the body of work I have built deserve something of real substance, and I want the event to reflect that.
Leave a comment