Afrobeats sensation Ikuforiji Olaitan, widely known as Oxlade, has offered a rare and candid look into his personal life, revealing that he neither smokes nor takes hard drugs, and crediting his choices to a strict Christian upbringing and a deeply musical family background.

The Ku Lo Sa singer spoke during an in-depth conversation with gospel artist Tim Godfrey, where he traced his journey from church choirs to global stages, and explained how faith continues to shape his decisions in an industry often associated with excess and indulgence.

Oxlade, whose soulful vocals and emotive songwriting have made him one of the standout voices of the new Afrobeats generation, said his lifestyle is not a carefully curated public image but a reflection of how he was raised.

“I don’t smoke. I don’t take drugs,” he said, calmly but firmly, as he discussed the pressures and expectations that come with fame. For him, the decision is not about moral grandstanding but about staying true to the values instilled in him from childhood.

He described growing up in a home where church was not just a Sunday obligation but a central part of family life. Music, he explained, was woven into that spiritual environment, and the church became his first stage and training ground.

“All my life I have been in the choir,” Oxlade said. “I was a choir coordinator for every age group; children’s church, teen church, the youth choir and the mass choir.”

Those early years, he noted, were not glamorous. They involved rehearsals, discipline, and learning to work with people of different ages and abilities. But they also gave him a foundation in harmony, arrangement and performance that would later set him apart in the secular music world.

Oxlade comes from what he calls a “musically inclined family,” where talent and faith intersected naturally. His grandmother, he revealed, is a deaconess and a gifted singer. His grandfather was a multi-instrumentalist, comfortable with several instruments and committed to church service. His mother, he added, could dance, act and sing, while another close relative is a pastor.

That environment meant that music was never just entertainment. It was ministry, expression and responsibility. The singer said this background still influences how he approaches his craft, even when he is making mainstream Afrobeats records that dominate streaming platforms and club playlists.

He described gospel music as the bedrock of his artistry and insisted that, despite his success in secular music, his strongest writing remains in the gospel space.

“My gospel music writing is actually the best. Gospel music is the best music,” he said, stressing that the emotional depth and spiritual weight of gospel compositions demand a different level of honesty and vulnerability.

For Oxlade, the transition from church choirs to global tours was not a rejection of his roots but an expansion of his calling. He sees his current platform as another way to reflect the grace he believes has carried him this far.

Reflecting on his rapid rise, he rejected the idea that his success is purely the result of strategy, talent or industry connections. Instead, he framed his journey as something orchestrated beyond his control.

“Regardless of whichever perspective I am viewed, you should know that God is equally blessing me as much as he is blessing you,” he said. “You can’t tour 40 cities with your debut album if God doesn’t want it to happen. As long as God is ordaining these steps and movements, there is really nothing for me to worry about.”

That sense of divine guidance, he suggested, helps him navigate the temptations and distractions that come with fame. In an era where many young artists openly document their experimentation with substances, Oxlade’s stance is striking. He does not condemn others, but he is clear about his own boundaries.

His comments also highlight a growing conversation within Afrobeats and the wider African music scene about identity, spirituality and mental health. As the genre gains global prominence, artists are increasingly vocal about the pressures of touring, online scrutiny and the expectations of fans and labels. For some, substances become a coping mechanism. For others, like Oxlade, faith and discipline are the anchors.

By openly discussing his refusal to smoke or take drugs, Oxlade challenges stereotypes about what it means to be a successful contemporary artist. He presents an alternative image of stardom, one that allows for vulnerability, conviction and a strong sense of personal limits.

Yet he is careful not to romanticise the path. The singer has previously spoken about personal struggles, setbacks and the grind of trying to break through in a crowded industry. What his latest revelations add is a clearer picture of the internal compass he relies on as he navigates that world.

In choosing to foreground his faith and upbringing, Oxlade offers a narrative that contrasts sharply with the hyper-materialistic image often associated with Afrobeats. He talks less about cars and champagne and more about grandparents, choirs and the quiet conviction that his steps are ordered.

What remains clear is that Oxlade sees his career as more than a personal achievement. It is, in his view, a testimony. From the church pews where he first learned to sing, to the global stages he now commands, he insists that the same faith that kept him away from drugs and smoking continues to guide his every move.