Her real name is Philomena Onwubuya. She is one of the strongest Nigerian high-life singers and songwriters, shaking the music world with her Talent.
She is from Igbogili Abavo, in Ika south local government area of Delta state . She started her music career in 2002, Bringing sweet Igbo vibes in her Ika dialect of Igbo and addition to Modern style.
Philomena Onwubuya is not just a singer; she is the first to start her “professional dance band of Africa.” This group makes individuals across Igbo areas and beyond dance and feel good with its sounds.
Her songs carry messages that touch the heart, and before she died in 2023, she left a good legacy for high-life music.
How she started and what she did
Philomena Onwubuya did not just go into music; she had a passion and came with her tribe’s roots. She started in 2002, and people were overwhelmed by her songs because they were different. She sings about life and the struggles in it and the things that happen around her. Blending traditional and Western songs made her songs sound new and fresh. She formed her band, the Professional Dance Band of Africa, to carry out her vision—music that makes one dance and think simultaneously.
Some of her well-known songs are “Ezhi Oyi.” “Olem Mgbe.” “Emu Omuyenim,” “Nikita Eri igi.”
These tracks show her power. The way she mixed the Igbo language with high-life songs is Amazing.
She uses her lyrics to discuss society, call out problems, and encourage ginger people to stand strong. Her band plays live frequently, and they have become big names in the Igbo music scene.
What makes her special
Philo is not like every other musician. They call her ” the Iron Lady” because she has an iron spirit. She is not afraid to say what’s in her mind, and her music carries weight. She sings with her Ika dialect of Igbo highlife songs that touch the soul, mixing that old-school sound that our fathers enjoy with a new vibe that young people can jam to. Her voice is strong, and the way she leads her band shows that she is a real talented professional.
She uses her music to do more than entertain; it’s like a teacher telling you how to live better. Whether hailing Igbo culture or yarning about life problems, Philo delivers with a style that is hard to forget.
Her life and How she
Philo the lron lady was doing very well in music until 2023 when she walk out of this world. The death news hit the music industry hard; fans, friends, and other musicians mourned her passing. She didn’t just leave music; she left a legacy that people still feel. Her songs are still playing on the radio, phone, and party, showing that her sound can’t die.
Before she left, she released many tracks and albums that inspired people. Songs like”Nwabunalo” and “Onye We Chukwu” show her love for God and her people. Even though she is not around again, her professional Dance Band of Africa and her music keep her name alive.
What She Left Behind
Philo, the Iron Lady, is one of the big names pushing Igbo highlife in front. She makes people see that women can run things in music and still hold culture tight. Her songs are on places like Deezer, Apple Music, YouTube music and Boom Play.
She is like a torch that lights the way for Igbo musicians, especially women who want to sing highlife in their Igbo dialect . Her socially conscious lyrics about life and truth make her stand out, and that’s why people still cherish her work today.
Philo, the Iron Lady, is a true Igbo queen who uses her voice and band to shake the highlife world. From 2002, when she started, to 2023 when she left, she wrote her name in music history with an iron pen. Her songs carry a message, her style carries class, and her spirit carries strength.
Philo’s legacy lives on.
References
•Okeke-Agulu, C. (2024). Highlife Queens: Women Who Shaped Nigerian Music. Lagos: University Press PLC.
•Azikiwe, N. Jr. (2023). Igbo Soundscapes: The Evolution of Highlife Music. Enugu: Fourth Dimension Publishing Co.
•Nwaubani, A. T. (2025). The Iron Lady’s Legacy: Philo and the Dance Band Revolution. Ibadan: Bookcraft Ltd.
•Falola, T. (2022). Music as Resistance: Social Commentary in Nigerian Highlife. Austin: University of Texas Press.
•Silva, B. (2024). From Roots to Rhythm: Women in African Music. Abuja: Cassava Republic Press.
