Ojude Oba 2026: Heritage, Counter-culture, Sophistication at Its Best

Yinka Olatunbosun 

As the crowd converged on the famous palace forecourt, the message was clear:  the soul of Ijebuland remains as vibrant and resilient as ever. On Friday May 29,   Ijebu Ode was fired up with an energy that felt both timeless and remarkably modern. This year’s edition of Ojude Oba Festival swiftly transformed the streets into a breathtaking kaleidoscope of colours, sound and ethnic pride.

Expectedly, the fashion at this year’s festival was arguably impeccable; a masterclass in Nigerian elegance. As the various Regberegbe (age-grade) groups processed toward the Awujale Palace, the air shimmered with the texture of fine lace, hand-woven Aso-Oke, and opulent brocades.

Each age group sought to outshine the last. One could spot the Gbobaniyi group moving with rhythmic grace, their uniforms a testament to coordinated luxury, dripping in gold jewelry and intricate beadwork. Not to be outdone, the Gbobakeye cohorts dazzled with vibrant gele (head-ties) and matching fans, their fashion choices a bold statement of communal identity. The men, resplendent in their tailored agbada sets, moved alongside the women in a display that bridged the gap between heritage and high-fashion editorial.

Security was notably robust, thousands of security personnel—including specialised SWAT teams and surveillance units—deployed to ensure the safety of the massive influx of tourists, celebrities, and locals. The atmosphere remained electric rather than chaotic; the familiar, rhythmic thrum of talking drums acted as the heartbeat of the crowd, guiding the flow of the procession toward the palace forecourt.

This year’s festival carried a heavy, historical weight, as it marked the first celebration since the passing of the revered monarch, Awujale of Ijebuland, Oba Sikiru Kayode Adetona.

Ogun State Governor, Prince Dapo Abiodun, spoke movingly of the late monarch and the festival’s enduring significance:

“This year’s Ojude-Oba Festival carries profound significance. It is the first celebration since the glorious transition of our revered monarch, Oba Sikiru Adetona, whose remarkable reign shaped and transformed the institution of traditional rulership in Nigeria. We are building a state that honours its heritage because culture is not only our identity, but also a source of social cohesion and economic opportunity.”

Cultural figures and organizers also emphasized the event’s evolution. Chief Olu Okubadejo, Chairman of the Planning Committee, highlighted the festival as a “celebration of unity and continuity,” while cultural observers noted the shift in perception. 

As the last of the horse riders performed their precision displays in front of the palace, it was clear that the legacy of the late Awujale remains alive, carried forward by a generation that views their culture not as a relic, but as their most vibrant form of expression.

The air was thick—a heady, intoxicating cocktail of roasting suya, spilled stout, the scent of expensive perfumes, and the rhythmic, thunderous pulse of talking drums that seemed to beat directly against the ribs of every spectator.

Again, King of Steeze

The festival reached a fever pitch of excitement with the arrival of Farooq Oreagba—the man widely celebrated as the “King of Steeze”— who made his triumphant return to the festival grounds. While social media was ablaze with footage of his signature dramatic entrance on horseback, his appearance served as a powerful reminder of how modern icons are revitalizing ancient traditions. His son stole the heart of young ladies, especially content creators who took pictures while milking the moments with the dashing “Prince of Steeze” on the horse.

Riding into the arena with his characteristic poise, Oreagba did not disappoint. Dressed in a crisp, regal embroidered white agbada paired with a striking purple cap and his trademark dark aviator shades, he commanded the attention of the thousands gathered. His composure, despite the deafening cheers of the crowd, solidified his status as the festival’s most anticipated “spectacle.”

Observers noted that his presence this year felt even more significant; his ability to blend the solemnity of the festival with a contemporary “drip” has turned the annual procession into what many online are calling the “Steeze Olympics.” For many, his attendance—featuring his signature calm demeanor and the small detail of holding a cigarette while managing his horse—represented a bridge between the reverence of old-world customs and the bold, unapologetic expression of modern Nigerian culture.

Counter-Culture Moment

Nicknamed Mama Steeze, she sat perched on a carved wooden stool under the shade of a vibrant, striped canopy, seemingly detached from the frantic energy surrounding her. Her iro and buba were of the finest, most intricate hand-woven Aso-Oke, shimmering with threads of gold that caught the noon sun. But it wasn’t her regal attire, or even the heavy, ornate coral beads draped around her neck, that held everyone’s attention. It was a cigar.

It was long, dark, and hand-rolled, held between fingers adorned with thick, vintage gold rings. She didn’t hold it like a nervous smoker; she held it with the casual authority of a matriarch. As the procession of a neighboring horse-riding family thundered past, their caparisoned stallions kicking up clouds of dust, she didn’t blink. She simply took a slow, deliberate drag, held the smoke for a heartbeat, and exhaled a thin, steady plume of grey that vanished into the humid air.

The woman with the cigar turned her head slowly. Her face was a landscape of experience—deep, elegant lines etched by decades of Ijebu history. She didn’t scold, but her smile was sharp and knowing. She didn’t put the cigar out. Instead, she tapped the ash rhythmically against the edge of her stool, perfectly in time with the distant, frenetic bata drums.

A group of tourists, cameras swinging from their necks, hesitated a few feet away, captivated by the juxtaposition. She was a living bridge—the refined tradition of the Ijebu nobility fused with an unyielding, smoke-wreathed defiance that felt timeless.

As the royal procession approached, the trumpets blared, and the crowd surged forward in a wave of praise-singing. She remained still. She adjusted her posture, drew deeply once more from the cigar, and looked out across the sea of people with the calm, satisfied gaze of a woman who had seen sixty years of Ojude Oba and knew exactly how to make it her own. She wasn’t just observing the festival; in that moment, beneath the haze of her cigar, she was the festival—unapologetic, enduring, and beautifully, uniquely Ijebu.

Mama Steeze made a counter-culture statement at the festival winning backlash and admiration simultaneously from online commenters. Her singular action was provocative, arousing fierce debates around femininity, public smoking and double standards in societal expectations.

Mama Steeze was a living bridge—the refined tradition of the Ijebu nobility fused with an unyielding, smoke-wreathed defiance that felt familiar yet very strange.

This was Ojude Oba, the grandest cultural display in Ijebu, and among the throngs of colorfully dressed Regbe-Regbe groups, one figure had effectively stopped the flow of the crowd passing by.

A Collective Celebration of Cultural Preservation

Seyi Tinubu was among the prominent dignitaries who attended the festival. His arrival at the event, alongside Ogun State Governor Dapo Abiodun and other notable figures such as the Minister of Art, Culture, Tourism and the Creative Economy, Hannatu Musawa, was one of the highlights of the celebration. Reports noted that his entry generated excitement among the young attendees, who cheered as he made his way into the festival venue.

Former President, Chief Olusegun Obasanjo’s presence was quite significant. He had seen the nation transform, yet here, in the dust and the drums of the palace square, the ancient lines of respect and identity held firm.

For the youths, the festival has become an aspirational platform where heritage is worn as a badge of honor. The festival has transcended local boundaries, becoming a global digital event that showcases the sophistication of Yoruba culture, not just Ijebu indigenes.