Ahamefule J. Oluo (they/them) is a multi-instrumentalist, composer, writer, comedian, and creator of live performance. They were a founding member of the award-winning experimental jazz quartet Industrial Revelation. They are a Mellon Foundation Creative Research Fellow, Creative Capital awardee, ArtistTrust Arts Innovator awardee, MAP Fund grantee, and a semi-finalist in NBC’s Stand Up for Diversity comedy competition. Oluo co-produced comedian Hari Kondabolu’s albums Waiting for 2042 and Mainstream American Comic for Kill Rock Stars, and the album Who the Hell is Dwayne Kennedy? by the eponymous stand-up legend. They have premiered two autobiographical, music-based performances at The Public Theater’s prestigious Under the Radar Festival: Now I’m Fine (2016), which The New York Times theater critic Ben Brantley described as “a New Orleans funeral march orchestrated by Arnold Schoenberg,” and of which Time Out New York’s Helen Shaw said, "A day later, it's as though I grabbed a live wire; I can still feel the electricity in my skin"; and Susan (2020), which Brantley called “virtuosic” and “crackerjack.” Oluo’s newest stage show, The Things Around Us, will premiere in Fall 2024 at Portland Institute for Contemporary Art’s Time-Based Art Festival and go on to New York’s La MaMA Experimental Theatre Club as part of Under the Radar Festival 2025. Oluo has written for television, including the stop-motion animated comedy Santa Inc. on HBO Max, starring Sarah Silverman and Seth Rogen. They have also appeared on This American Life. Oluo wrote, scored, and starred in Thin Skin (2020), a feature film adapted from their stage show Now I’m Fine, and which won Best Director at the Harlem Film Festival. Oluo's work has been commissioned, presented, or invited by Under the Radar Festival, La MaMA, PICA, REDCAT, the Clarice, On the Boards, the Meany Center, Seattle Theater Group, Seattle Repertory Theatre, Intiman Theatre, The Crocodile, MacDowell, Yaddo, and more.

Exercises in stand-up autobiography are epidemic in experimental theater. But Mr. Oluo... manages to expand the format to dizzying proportions
— - Ben Brantley, The New York Times