BOYRECK thinks an Ayra Starr collaboration would be a hit. The artist tells Afrobeats Head about finding his sound, the music that shaped him, his latest single “Genuine,” and why he considers himself “experimental, versatile and unrepeatable.”
Having spent time in Ibadan, Abeokuta and now Lagos, how would you describe the personality of each city? Which one feels most like home, and how have they influenced your music?
BOYRECK: Ibadan is a city I grew up in, that is home. I’d describe its personality as lovely and friendly. Abeokuta is a great city, I was born there, I am from there. I’d describe its personality as energetic and youthful especially because I am currently schooling there too. I haven’t really been to Lagos that much but from my experience while I was there, Lagos is a very interesting and energetic city.
Each city has its uniqueness which in a way has influenced my sound.
You started out as a rapper before finding your lane in Afro-fusion, R&B and Neo soul. Was there a particular moment or song that made you realise your sound was evolving?
BOYRECK: Yes! The story actually goes back to 2020, when I was hospitalized for more than a month. It was during that period Omah Lay dropped his debut album, Oxlade started getting recognition. I loved their sound so much and I said to myself that if they can pull off this kind of sound, I can surely do so too. Their songs kept me going while I was hospitalized and it became an inspiration for me during that period.
Olamide was one of your earliest influences. Who are some of the artists, past or present, that have shaped your music, and what have you learned from them?
BOYRECK: Yes, there are a few of them: Omah Lay, Oxlade, Buju.
From them, I learnt that there isn’t one way to create music. There’s always room for creativity, experimenting and improvement in whatever you do.
Give to people something they have been starved of and they will love you unconditionally and that is something I hold dearly as an artist. I want my people to be able to connect to my craft with a pure soul and love me unconditionally.
Your latest single, “Genuine,” is out now. What’s the story behind the record, and what were you feeling when you wrote it?
BOYRECK: Honestly, I had something different in mind when I heard the beat, I sang an entirely different melody on it. It was my producer, Chuksmagic, who told me to go home and rewrite the song.
I had many trials and errors before I finally managed to compose the intro of the song. I felt a different kind of peace when I composed the intro. It was like a man meeting his fated woman😂. I was in that feeling till I finished the song.
When you’re not making music, what does a perfect day off look like for BOYRECK? How do you usually relax and recharge?
BOYRECK: If I am in Ibadan, there are only a few things I do.
I usually go and help my mum at her shop. Honestly, I am not the type that goes out, if I am not at shop then I am at home😂
When I am in Abeokuta, it feels more youthful for me because I have my friends and coursemates around. There are more things to do.
Your music is full of emotion. Has love or being in a relationship influenced the way you write songs, or do you draw inspiration from other people’s experiences too?
BOYRECK: I get asked this question a lot, but I honestly think it is the way I was brought up. I have this calm, gentle and loving personality I’d say. I was brought up with love around me. And yes I draw inspiration from other people’s experiences too.
If you could collaborate with any three artists, Nigerian or international, who would make your dream collaboration list, and why?
BOYRECK: First and foremost, Olamide.
I love that man a lot, he made me fall in love with music.
Arya star, I can feel the connection in our sounds. I believe whatever song we make will be a hit. The scenes!!!
Lastly, Dave. Imagine me dropping a crazy hook and Dave coming in with those verses. It’s madness😂
You’ve been building your career steadily rather than chasing overnight success. What’s the biggest lesson you’ve learned about patience and consistency in the music industry?
BOYRECK: “Consistency, consistency I promise to remain consistent In my positive version”
In this music industry, I have learnt that consistency cannot be underestimated. You have to keep doing your thing and improving.
Patience is a virtue but don’t overplay it, you shouldn’t be too patient, hunger has to override it but it needs to be balanced.
What’s one thing people assume about BOYRECK that isn’t actually true?
BOYRECK: People think that I am gentle because I don’t talk too much😂
As you continue to grow as an artist, what can fans expect from you over the next year? More singles, collaborations, a project, or something completely unexpected?
BOYRECK: Expect the unexpected, what if I bring Beyoncé out of retirement or I have a joint project with Drake or BTS?
Afrobeats Head Quick Fire
• Coffee or tea? Warm water
• Morning or late-night studio sessions? Late night
• Ibadan or Abeokuta? Abeokuta
• Rap or R&B? R&B
• One Nigerian artist you’d love to collaborate with? Taves
• One international artist you’d love to collaborate with? Dave
• A song you wish you had written? Honestly, there’s no particular song I wish I had written, I listen to all types of music😂 i could be jamming Fuji today, American old school tomorrow, RnB the next day, Apala, Trap, Hip hop, Beautiful Nubia, Reggae and so on…
I am not limited to one particular genre, I love exploring different sounds so it hard to say I wish I wrote a particular song.
• What’s currently on repeat in your playlist? Would I be selfish if I say Genuine? 😂 Okay seriously now “How do you do? by Beautiful Nubia”
I play the song almost every morning, I love it.
• Three words that describe BOYRECK.
Experimental, Versatile and Unrepeatable.
• What’s one thing people would be surprised to learn about you?
That I stammer a little bit, it’s been part of me since childhood but I don’t let it get the best of me.
• Finish this sentence: “In five years, BOYRECK will be a phenomenal artist, one that you get to experience once in a lifetime with a sound so unique to my identity alone.
”Genuine” by BOYRECK is out now on streaming platforms.
Indie Vibe At Home Together returns in 2026 with another edition of its creators’ retreat, bringing together independent artists, producers, songwriters, engineers and multidisciplinary creatives for several days of collaboration, learning and music-making.
Indie Vibe At Home Together returns in 2026 with another edition of its creators’ retreat, bringing together independent artists, producers, songwriters, engineers and multidisciplinary creatives for several days of collaboration, learning and music-making.
Ahead of this year’s retreat, Afrobeats Head spoke with Indie Vibe House Party founder Nathalie Wemambu about what creators can expect, who the experience is designed for and why Indie Vibe House Party continues to grow as a home for independent talent.
Whether you’re considering applying or simply curious about the retreat, here’s what you need to know.
Indie Vibe At Home Together 2026 at a Glance
Organiser: Indie Vibe House Party
Who it’s for: Independent musicians, producers, songwriters, sound engineers and multidisciplinary creators
Experience: Recording camp, creative workshops, industry sessions and collaborative activities
Applications: Open
What inspired you to create Indie Vibe House Party and the Indie Vibe At Home Together Creators’ Retreat?
Nathalie Wemambu: Having worked with artists for about a decade, including more than five years managing independent talent, I saw the pressures they face firsthand.
I discovered that what Nigerian and African creators ultimately need is a space to truly create, perform live, bond and be happy.
That’s why I started Indie Vibe House Party. I wanted to build a nurturing, cosy second home where emerging talent can decompress, showcase and create live music, find organic mentorship and form deep, collaborative bonds.
What is Indie Vibe At Home Together, and what can creators expect from the 2026 edition?
Nathalie Wemambu: Artists and producers can expect an intentional, substance-free environment built for pure creative focus. We’re offering a dedicated recording camp, an exclusive three-track EP studio package for creators looking for a more immersive experience, and multidisciplinary events like Brushes & Ballads and Frames & Frequencies.
These experiences introduce attendees to the wider creative industries we work within, showing them the possibilities that exist for creators who dream to be more.
Expect masterclasses, A&R reviews, premium dining and collaboration designed to help you rediscover your peace while leaving with finished records and so much more.
Who is the retreat designed for?
Nathalie Wemambu: The retreat is carefully designed for independent musicians, producers, sound engineers, songwriters and multimedia artists who feel exhausted by industry or creative pressures and are ready to create from a place of comfort.
If you’re an independent creator at any stage of your career who is seeking clarity, deep collaboration and a genuine community, you should register.
It’s for those ready to embrace a clear-minded, substance-free space to refine their craft, explore new artistic mediums and learn how to sustainably monetise their work with the guidance of Indie Vibe House Party, 730 Multimedia Consultancy and all our partners.
The first edition of the Indie Vibe At Home Together Produced the “Tales We Tell At Home” EP
What makes Indie Vibe At Home Together different from a traditional recording camp?
Nathalie Wemambu: Throughout my years managing independent talent and working closely with artists, I’ve seen how deeply exhaustion and unhealthy habits can drain creative energy.
The industry often normalises using substances to cope with stress or force creativity, but I’ve found that true, groundbreaking art happens when the mind is completely clear.
By creating a healthier, substance-free environment, we’re protecting the wellness of African independent creators. Removing smoking, drug use and drinking strips away distractions and allows people to show up as their authentic selves.
When creators are sober and clear-minded, they connect better, and their work becomes deeper, sharper and rooted in genuine, sustainable joy rather than burnout.
How does a wellness-first environment shape the creative process?
Nathalie Wemambu: A wellness-focused environment removes the survival mode that so many independent artists constantly live in.
Being in a safe, healthy space allows creators to lower their guard. They’re no longer creating from a place of anxiety, exhaustion or a need to escape, but from a place of peace, abundance and clarity.
Wellness adds sustainability to the work. It allows artists and producers to tap into their heart space without destroying themselves in the process.
When creators feel mentally and physically supported, they connect more deeply with each other, and their work becomes more intentional, innovative and reflective of their true, unfiltered potential.
Editor’s Note
The inaugural Indie Vibe At Home Together Creators’ Retreat culminated in the collaborative project, “Tales We Tell At Home,” bringing together music created during the residency. Beyond the recordings, the retreat also sparked creative partnerships and friendships that have continued long after the programme ended.
What was it like seeing the first retreat produce the “At Home Together” project?
Nathalie Wemambu: It was new for me.
When I set out to begin this, I had previously been producing live shows every year and I didn’t know how living with people would go or how it would feel.
Today I have a family bound by love and music and the breaking of hot egg toasties.
Thanks to this retreat, I am also creating music myself as dasweetthin. It’s greatness all around.
Why does the retreat include experiences beyond recording sessions?
Nathalie Wemambu: Beyond preventing burnout, these multidisciplinary activities help creators see other spaces where they can grow, create and earn.
Stepping outside the booth exposes them to visual and fine art, film and media, opening their eyes to new commercial opportunities and sustainable income streams.
My team at 730 Multimedia Consultancy, one of the partner brands behind the retreat, is also on hand to share industry insights and help creators understand how to monetise opportunities across different creative fields.
What do you hope creators gain from spending time together at the retreat?
Nathalie Wemambu: Creatively, I hope they step outside traditional boxes and embrace new creative mediums and income streams with the knowledge they gain during their time with us.
Personally, I want everyone to feel the warmth of true, clear-minded connection and leave knowing that, with Indie Vibe House Party, they’re backed by a creator collective that actively loves and supports them.
How can creators register for Indie Vibe At Home Together 2026, and what are the different ways they can experience the retreat?
Nathalie Wemambu: We have two main residency packages: the Premium All Access Pass and the EP Package. We also offer day tickets for Brushes & Ballads, our sip-and-paint experience, and Frames & Frequencies, our film night.
For the day events, we offer discounted group rates for attendees registering as a group of two or five.
The Premium All Access Pass, priced at ₦40,000, gives creators access to the full residency experience, including healthy meals prepared on-site, workshops, day events and all creation sessions. Attendees on this tier will also have the opportunity to feature on the 2027 Indie Vibe House Party album.
The EP Package, priced at ₦1.2 million, includes everything in the Premium All Access Pass, along with additional benefits. Attendees receive three professionally mixed and mastered songs created during the camp, the opportunity to be part of the Indie Vibe House Party project, three to four paid promotional placements during release week, and the optionof a private production space located minutes from the main venue.
Artists and clients also have the flexibility to negotiate ownership splits, with the exception of Indie Vibe House Party’s A&R credit and a 2.5-point royalty allocation.
The second edition of Indie Vibe At Home Together returns this August with Applications now open
I’m interested, but I’m not sure it’s for me. What would you say?
Nathalie Wemambu: If you feel hesitant, it simply means you care deeply about your craft and your energy.
This retreat is designed to be the safe, pressure-free sanctuary you’ve been searching for. It isn’t an intimidating industry networking event. It’s a cosy, nurturing home.
If you’re craving a space to recharge your mind, create with absolute mental clarity and discover new ways to monetise your art, then you belong here.
Trust your intuition, take a leap of faith and join us to rediscover your creative joy.
What are your hopes for the 2026 edition?
Nathalie Wemambu: I’m hoping to see an incredible wave of artistic genius and genuine, lasting transformation.
Creatively, I want attendees to break free from convention, unlock fresh confidence and leave with completed, groundbreaking records that we’re all proud of.
I also want them to leave with the practical, cross-industry knowledge needed to turn their craft into sustainable careers, backed by the strategic guidance of Indie Vibe House Party, 730 Multimedia Consultancy and our partners.
Personally, I just want to see creators smiling, recharging their minds and experiencing the magic of clear-minded connection. I hope everyone leaves knowing they’re forever part of a collective that truly loves and supports them.
Looking back, what was your favourite memory from the inaugural retreat?
Nathalie Wemambu: I had many favourite moments, but the most memorable parts of the Tales We Tell At Home era were finding my voice again as a credited backing vocalist on Kohsea’s “No Rules” and the sisterhood that grew from creating that song together.
Another highlight was co-producing “WAVES” with Judø, co-writing it with Kohsea and later performing it live in Lagos at the listening party in 2025 and again on International Women’s Day 2026 at an Indie Vibe House Party-sponsored event hosted by The Eiko System.
You can say I was reborn because of the first edition. I am because it is.
Apply for Indie Vibe At Home Together 2026: Registration is now open. Visit Indie Vibe At Home Together 2026 for ticket details and secure your spot.
Ghanaian singer Twicy is building momentum with his blend of Afrobeats, highlife and contemporary sounds.
Fresh off winning Artist of the Year and Male Vocalist of the Year, he recently released his take on Michael Jackson’s “Rock With You,” putting an Afro-inspired spin on the timeless classic. In this interview with Afrobeats Head, Twicy reflects on his growing audience across Africa, the responsibility that comes with recognition, and what’s next in his journey.
1. You’ve built a growing fanbase across Ghana and Nigeria. When did you first realize your music was reaching people beyond your hometown?
I think it really hit me when I started getting messages from people in Nigeria who genuinely connected with my music. Seeing blogs, DJs and listeners from another country sharing my songs made me realize the music was travelling much further than I imagined. That’s when I understood that good music doesn’t recognize borders. It gave me the confidence to keep creating without limiting myself.
2. You recently won Artist of the Year and Male Vocalist of the Year. Did those wins change how you see yourself as an artist?
The awards were a huge honour, but they didn’t change who I am. They reminded me that consistency and hard work don’t go unnoticed. More than anything, they challenged me to raise my own standards because once people believe in you, you have a responsibility to keep growing and delivering your best.
3. Your sound blends Afrobeats, highlife and contemporary influences. How do you stay true to your Ghanaian roots while appealing to a wider audience?
I don’t think you have to choose one over the other. My Ghanaian identity naturally comes through in my music through the melodies, rhythms and storytelling. Then I build on that with modern production and influences that people anywhere in the world can relate to. I want someone in Accra, Lagos, London or New York to connect with the music while still hearing where I’m from.
4. Ghana and Nigeria have one of Africa’s biggest musical rivalries. What’s one thing each scene could learn from the other?
I see it more as healthy competition than a rivalry. Ghana has incredible originality and rich musical traditions, while Nigeria has built an amazing system for exporting its music globally. Ghana can continue learning how to scale its music internationally, while Nigeria can keep embracing the authenticity and musical heritage that Ghana consistently brings. At the end of the day, when African music wins, we all win.
5. Your latest release is a cover of Michael Jackson’s “Rock With You.” Why did you choose that song, and were you nervous about reimagining such a beloved classic?
Michael Jackson is one of the greatest entertainers of all time, and “Rock With You” is one of those timeless records that still feels fresh decades later. I wanted to celebrate that legacy while adding my own personality and Afro-inspired flavour. Of course there was pressure because people love the original, but I focused on honouring the song instead of trying to compete with it.
6. What was the biggest challenge in making “Rock With You” sound like Twicy while still honouring the original?
The biggest challenge was finding the right balance. I didn’t want listeners to feel like I was simply copying the original, but I also didn’t want to lose what made the song so special. So I kept its emotion and essence while introducing my own vocal style, arrangements and Afrobeats influences. The goal was for people to feel Michael Jackson’s spirit while still recognising Twicy’s identity.
7. If someone is discovering Twicy today, which three songs should they start with and why?
I’d say “Rock With You,” “MonaLisa” and “All Over Me.”
“Rock With You” shows how I can reinterpret a classic while making it feel fresh.
“MonaLisa” captures my melodic side and my love for creating feel-good records.
“All Over Me” reflects my growth as a songwriter and artist, combining emotion with contemporary Afrobeats.
Together, they give a good picture of who I am musically.
8. Beyond streams and awards, what does success look like for you?
Success is creating music that lasts and being in a position to support my fans and humanity through my talent. It’s hearing that one of my songs helped someone through a difficult time or became part of an important memory in their life. It’s also about representing Ghana proudly on the global stage and inspiring young artists to believe their dreams are possible.
9. What’s one thing fans still don’t know about Twicy that you’d love them to understand?
People often see the finished product, but they don’t see how much thought and emotion goes into every record. I’m very intentional about my music, and I think that’s why some of the people I work with describe me as a perfectionist. I don’t make songs just to follow trends. I want every release to have meaning and reflect where I am in my life, both as an artist and as a person.
10. What’s next for Twicy? What should fans be excited about for the rest of the year?
There’s a lot coming. I’m working on new music and a project with producers from London that’s going to show another side of me creatively. There are also collaborations, exciting visuals and more live performances on the way. My goal is to keep pushing my sound forward and connect with even more listeners across Africa and beyond. I want this to be the year people truly understand what the name Twicy represents.
In a music culture driven by image, visibility, and personality, Nasty Guerrero arrives without a body yet with a voice you can feel. The digital artist sits at the intersection of sound, identity, and technology, challenging long held ideas about authenticity, presence, and what it means to be real.
In this conversation with Afrobeats Head, not real becomes a creative advantage and digital identity becomes a new kind of cultural power.
Who is Nasty Guerrero?
Nasty Guerrero is a digital artist with human intention. A project designed to express identity without physical limits.
What does “not real” mean to you?
Not fake. Not artificial. Just not confined to a body, a face, or expectations.
How do you define real today?
Real is intention. Truth in creation, not visibility.
Why choose a digital identity?
Because culture already lives online. I am reflecting on the world as it is.
What cultural truth are you highlighting?
That identity is evolving faster than the industry is comfortable with.
Has music culture become more about image than sound?
It always was. Now it is just impossible to hide.
How does “Not Real” reflect how we consume music today?
People form real emotional connections to things that do not physically exist. That is the paradox.
In this interview, S.King opens up about what drew him to Miley Cyrus’ hit “Flowers” and why he decided to sample it in his music. From connecting with its message of self-love to adding his unique Afrobeats flavor, he explains how the track inspired him and became a meaningful part of his artistic journey.
S.Afrobeats artist S.King
I have to ask — what’s the story behind the name? S.King stands for Special King — a name I gave myself before fully realizing how powerful my story truly was. Òké, one of my given names, was chosen by my mum because I was born with a sac, which in Yoruba culture is rare and spiritually significant. As I grew older, I understood its meaning, and everything started to align. Both my mum and dad come from royal blood, so adding “King” reflects heritage, identity, and destiny. S.King isn’t just a stage name; it’s spirituality, royalty, and self-awareness.
Tell me about your childhood. Where did you grow up? Growing up in Mushin, Lagos, I was immersed in energetic experiences and exposed to both gospel and non-gospel music from a young age, favoring artists like D’banj, Olu Maintain, 9ice, 2Face, and 50 Cent. I was also a big movie fan, influenced by films like Chronicles of Narnia, Harry Potter, and Pirates of the Caribbean, and enjoyed TV shows from Cartoon Network and Disney, including Ben 10 and Justice League. This mix of music, movies, and cartoons shaped my creativity and music.
S.King released a cover of “Flowers” by Miley Cyrus
When did you start taking yourself seriously as an artist?
I really started taking myself seriously when I dropped my first single, “My Heart in Lovid 19.” The response blew me away — I received compliments, messages, and even emails from people I didn’t know telling me how much they loved the song. That connection with people boosted my confidence and made me realize that music wasn’t just something I enjoyed — it was my calling. From that moment, I made a true commitment to my craft, focusing on creating music that resonates and connects.
What kind of energy do you bring into the studio? In the studio, I bring focused, intentional, and authentic energy. I don’t force creativity — I let it flow naturally. Sometimes it’s soft and emotional, other times bold and confident, depending on the song. I treat every session as a moment to build, not just record. For me, the studio is a space to translate emotion into sound and capture something that truly connects with me.
What’s been your biggest “wow, this is real” moment so far?
Just seeing how people connected with my first single, “My Heart in Lovid 19.” People went from calling me by my given name to S.King. Receiving messages and emails from strangers telling me how much they loved the song was surreal. Even more mind-blowing — my music was being listened to in 72 countries in my first year. That’s when it really hit me: this isn’t just a dream; it’s real. Feeling that kind of connection and reach was unforgettable and has fueled everything I do since.
Are you making music for vibes, money, legacy… or all of it?
Honestly, all of it. I started with vibes — just making music for the love of it. Along the way, I’ve made some money, and now I’m focused on legacy. I want my music to shake the world in a gentle way — to connect with people deeply while leaving something lasting behind.
What keeps you going when things feel slow?
Clarity and self-belief keep me going. I’m not in a rush to go mainstream; I focus on doing the work that needs to be done in private. Even when progress feels slow, I trust the process, stay disciplined, and keep building toward the future I envision. Slow doesn’t mean stagnant — it means preparing for something lasting.
You released a cover of Miley Cyrus’ “Flowers” what inspired it. Is she one of your favourite artists?
I love that song so much that I had to do the cover. I connected with it deeply — it was actually my most played song on Spotify that year. The message of self-love really hit me, and I wanted to express it in my own way, adding my own tone and perspective. I wouldn’t say Miley is one of my all-time favourite artists, but I respect her artistry, and that song resonated with me. For me, it was about taking a message I connected with and making it my own.
What about your EP “Lovid 19” sounds like it was inspired by Covid. What did you hope to achieve with it?
The EP was a project I started during the pandemic. While COVID-19 was the coronavirus, Lovid 19 stands for the “love virus.” It was inspired by the emotions I experienced during that time, especially a personal love story that developed while we were all in lockdown. I wanted the world to experience the love virus the same way people experienced COVID-19 — to feel it, connect with it, and let it resonate.
— Afrobeats Head Loves Timothee Ideh (@AfrobeatsHead) September 1, 2025
The EP includes four tracks — “My Heart in Lovid 19,” “Dear Dami,” “True Love,” and “Baby Boo” — each reflecting a chapter of that experience, capturing vulnerability, connection, and genuine emotion. It’s about sharing love in a time when the world felt distant and isolated, and giving people a chance to feel it deeply through music.
Let’s talk about your new collaboration “X Lovers”, What was it like collaborating with Seyannie?
Working on “X Lovers” with Seyannie was amazing. She’s incredibly talented and was emotionally invested in the song because it’s based on a personal story. The process was long and detailed — we spent a year writing and recording, and the mixing and mastering process stretched over 2–3 years. The first producer didn’t capture the sound I wanted, so I handed it to another producer, and in total, it took five years before we finally released it.
The song is a heartbreak track from a dual perspective, which is rare in music. It was important for me that every emotion came through authentically, and collaborating with Seyannie allowed us to create something truly special that listeners can feel deeply.
Would you consider yourself a lover boy? Yes, I am a lover boy. I feel deeply and I move carefully — love is a verb for me. It’s about action, intention, and sincerity, not just words or feelings.
Have you ever been in love? If so, what was it like?
Yes, I’ve been in love. It was like bread — perfect, goes with everything.
Have you ever been heartbroken?
Of course. The fun part about being an artist is putting your emotions into songs, and heartbreak is one of the strongest emotions to write about. I’ve even written songs about small things — like the time my charger cord was stolen.
What’s one thing people don’t see about your journey?
The struggles it takes to be an artist — people see the song, they see the artist, but they don’t see the process behind the art. Sometimes they catch glimpses, but they don’t fully understand the effort, patience, and work that goes into creating something meaningful.
What are you building right now?
Right now, I’m working on my next project, infusing rap into different genres. I’m also taking vocal lessons, focusing on self-improvement, and keeping up with my schooling. It’s all about growing as an artist and a person while building a sound and vision that lasts.
If everything works out exactly how you want, where are we seeing you in 5 years?
In 5 years, you’ll see me topping charts globally with music that moves people, collaborating with some of my favourite artists, and touring to connect with fans around the world. I want S.King to be synonymous with vibe, depth, and legacy — a sound that blends cultures and emotions. My goal is to shake the world gently with my music and leave a lasting impact.
”X Lovers” my S.King and Seyannie is out now on all streaming platforms.
Nigerian-born, UK-based producer Olorunfemi is carving a unique space in the lo-fi scene, blending atmospheric, space-themed beats with subtle nods to his African roots. From the crackle of vinyl to the warmth of Highlife rhythms, his music isn’t just “background noise”—it’s a journey through nostalgia, cosmos, and quiet reflection.
In this interview with Afrobeats Head, Olorunfemi opens up about his creative process, the influence of living between two worlds, and his upcoming project, Venus, which promises to bring a Naija Highlife/Palmwine vibe to the global lo-fi landscape.
For people just discovering you through Afrobeats Head, who are you and how did lo-fi become your lane?
If you’re just discovering me, I’m a lo-fi artist and music producer dedicated to crafting atmospheric, space themed tracks. Lo-fi became my lane because I’ve always loved the imperfections like the hiss of a tape, the crackle of a vinyl and how a simple, dusty beat can make you feel mellow.
It’s a genre that lets me explore the vastness of the universe from a very intimate, grounded perspective.. Just pure vibes.
You’re Nigerian but based in the UK. How do those two worlds show up in your sound?
Being Nigerian in the UK means balancing two energies. Nigeria gives my music its rhythmic soul and that “never say die” spirit, while the UK influences my moody, spacey textures. I don’t force the Naija elements, they enter naturally because na where I come from. It’s like jollof, different recipes, same soul.
Do you consciously try to infuse Nigerian elements into your beats, or does it happen naturally?
Honestly, I don’t force it at all. It just happens naturally because it’s in my DNA. Apart from my Saturn (Sátúrùn) EP, I’ve got a new project called Venus dropping on January 30th. That one is a complete Highlife/Palmwine bounce. It’s pure rhythm and nostalgia, my way of showing that lo-fi can still have that authentic home feeling.
How would you describe your music to someone who thinks lo-fi is just “background music”?
I tell them it’s not just background noise, it’s the foundation for your thoughts. It’s the canvas that helps you focus or cool your mind after a long day.
My music isn’t just random loops; it’s a whole journey. It’s about giving you a vibe to breathe in, it doesn’t just fill the room, it sets the mood.
What emotions or headspace are you usually in when you’re producing?
I’m usually in a state of quiet wonder, just catching a calm vibe. I like to sit in that space where the world feels still and my mind can just wander through the stars. It’s really about finding peace in the middle of all the noise.
I produce from a place of reflection and serious nostalgia. Whether I’m tapping into that cosmic stillness or catching that warm feeling, the goal is always to create a sound that helps you cool your heart and just be.
Your projects are all named after planets and celestial bodies. You have earth, mars, jupiter. Is there a reason for that?
I’ve always been fascinated by how massive yet peaceful the universe is. Naming my projects after celestial bodies gives the music scale and reminds us that even when life is loud, there’s a quiet beauty out there.
How has living outside Nigeria shaped the way you connect with home through music?
Living abroad will make you get a sense about your roots. When you’re far away, you have to be intentional. For me, music is the bridge. It’s how I stay connected to the soil while I’m overseas.
Nostalgia plays a big role in lo-fi. What memories do you find yourself returning to most?
I always go back to those quiet Naija nights, specifically the warm air and the muffled sounds of the street from a distance. That peaceful, hazy feeling is exactly what I try to capture in my beats.
Do you feel pressure to sound “African enough,” especially as a Nigerian producer in a global genre?
I don’t feel that pressure at all because no be by force to follow the crowd. Being a Nigerian in a niche space like lo-fi is the flex itself. My sound is authentic because it’s mine, whether I’m using heavy percussion or just spacey vibes.
How important is it to you that African producers are part of conversations around alternative and niche sounds?
It’s massive. We bring a different spice to the table. Just like my new Venus EP dropping soon, it’s a complete Highlife bounce that shows how our “alternative” sounds can stand anywhere. We’re showing the world that African creativity no get limit.
Walk us through your creative process. What sparks a beat for you?
It usually starts with a mood. I fit just hear a sound on the street or get a melody while staring at the sky. Once that spark hits, I start layering textures to build a whole world around it.
What’s one thing listeners might not realize goes into making a lo-fi track?
People think it’s just loops, but there’s plenty of “soul” work involved. It’s those tiny imperfections and the way the frequencies hit to make you calm down. It’s intentional chaos.
How do you know when a beat is finished?
I know a beat is ready when I can close my eyes and feel like I’ve traveled somewhere. If I start overthinking, I know I’ve reached. Less is more.
Lo-fi is known for its chill, relaxing vibes, but how do you relax when life gets hectic?
When life gets busy, I just step back. I spend time with family and the people I love, that is where I find real peace. I also like to relax and zone out with a good movie.
How has being UK-based influenced your opportunities and audience?
Being in the UK has opened doors for global reach. The “London chill” mixes with my roots to give the music a unique edge that resonates here and back home.
Where do you feel your strongest support comes from? Africa or the diaspora?
It’s a mix. The diaspora really feels that nostalgia, but I’m seeing big love from Africa too. People back home are really starting to vibe with alternative sounds now.
What’s been the most validating moment in your journey so far?
Seeing my tracks like “Ganymede” or “Díónì” on global playlists. Knowing someone is using my music to find peace is the ultimate win.
What are you currently working on?
Right now, all my energy is on my new EP, Venus, dropping 30/01/2026.
How do you want your sound to evolve over time?
I want to keep growing without losing that spacey vibe. I’m moving toward blending more live instruments with my lo-fi foundations.
What do you hope people feel when they listen to your music late at night or during quiet moments?
I want you to feel seen. Whether you’re studying or just overthinking at 2 AM, my music is that “no worries” zone.
Tell us about your upcoming project, Venus. What inspired it?
It’s a complete Highlife bounce. I wanted to bring that classic energy into the lo-fi world. It’s warm, rhythmic and very Naija.
Do you also make traditional Afrobeats music or have plans to do so?
I used to play with traditional Afrobeats back in the day, but right now, my focus is fully on lo-fi. That’s where my head is at.
Still, that Naija rhythm is the heartbeat of everything I do, so you’ll always hear those elements in whatever I create. It’s just me blending my roots with the chill vibe I’m feeling now. The rhythm still dey, just in a different way.
Would you be open to collaborating with Afrobeats artists on Lo-fi and Afrobeats?
I’d love to collaborate with artists like Tems or Lojay, their voices on a lo-fi beat? O’boy, that would be fire!
If so, who are your dream collaborators?
Working with The Cavemen would be pure fire for that Highlife/Palmwine feel.
Quick Fire Questions
Lagos or London?
Lagos (November to February) for the energy and London (March to October) for the grind.
Headphones or speakers?
Headphones all day!
One word to describe your sound.
Cosmic.
Olorunfemi’s new EP Venus comes out on Friday, January 30th 2026
The Lagos-born artist is confident, bold and passionate as he talks about his love for God and his Christian faith; and unapologetic about his criticism of the gospel music industry.
Not that he expects perfection. As he’s quick to admit that it’s not exactly easy or ‘popular’ to be a Christian. Especially in Lagos.
“People like to say ‘nobody holy pass’ But that’s the point. They don’t understand that Christians are imperfect people who found Christ.”
This human imperfection and redemption in Christ is the inspiration behind his new EP For the Lost Ones Who Found Jesus.
“I just wanted to tell my story. Because I didn’t know Jesus before I accepted him
And all the songs on the EP are basically stories of my journey from finding Jesus for myself and my life as a Christian.”
What Church do you attend?
I’m a member of the Redeemed Christian Church of Church. It’s my family church.
When did you give your life to Christ and become born again?
I like that question because people don’t understand me when I say I grew up in church but I only became born again in 2022.
And why did you finally make that decision?
I was in my final year of university and I realized I only have my parents and God. So I remember thinking “what is my purpose in life?”
So I decided to seek God personally, I started reading my Bible and I haven’t looked back since then.
Some gospel artists have recently been criticized for collaborating with secular artists. Would you ever do the same?
Like I’ve always told my team: it’s God over management and God over me so if God tells me to collaborate with anyone, I will. Even though they’re secular artists.
Would it be a secular song though?
So there’s a difference between a secular song and a worldly song.
Artists like Timi Dakolo, Bez, Asa, Omawumi and Waje all sing secular songs, but those are not wordly songs.
I mean, if it’s a secular song but has a good message then I have no problem with it.
But I wouldn’t collaborate on a worldly song.
And this is backed by the scriptures because the Bible says that those who love the world do not love the word.
Do you consider yourself a firebrand gospel artist?
I’m a Christian and I take my relationship with God seriously. I believe the genres are for easy identification. But I see this as God’s calling for me
The music industry does not understand this so they put me in the Afro Gospel category. They feel like once you mix the gospel with worldly beats, it becomes secular.
But for me it’s the message and the lifestyle. For example, some artists have songs about God but their lifestyles are obviously not Christian-like.
How long have you been singing?
Since junior church. At first I didn’t want to do gospel music but then I stumbled on Ephesians 4:11-12 and it spoke to me.
It says the gifts of God fall into three categories and I knew that my gift was supposed to do those three things.
Even though I was dissatisfied with gospel music I forged ahead because I know I don’t have to follow my predecessors because Jesus himself was a pattern breaker.
Who are your gospel music influences? Did you even have any? Since you were so dissatisfied with the industry?
Even though I’m unhappy with the state of the industry I still listen to gospel music because I can’t deny that there is the fire of God in them.
But I don’t exactly have any influences. I used to feel hesitant to say that but I’m getting bolder.
There’s, however, people I’d like to work with. Like Andendlessocean and DC3.
Can I ask what exactly is your problem with the gospel music industry?
It’s not exactly a problem but I don’t like the fact that people just pick a scripture and sing it.
My issue is not with the inspiration but the creativity because why are you repeating a verse 10 times?
Why can’t we have gospel music storytellers? Why must it always be soft rock or indigenous sounds?
I mean, nobody does Trap or Amapiano. It’s just not creative.
Aren’t you worried about how your comments would be perceived by your peers in the industry?
I don’t think I’ve said anything wrong
What can your fans expect from you as the year come to an end
I’m working on something for next year. We’re keeping it under wraps for now, but I’m excited about it and I cannot wait to share it.
Saelem’s new album For The Lost Ones Who Found Jesus is out now on all platforms
The first thing I noticed about Headies award-winning artist Ibejii was his voice: calm, regal, assured. Like a 60s BBC news presenter.
I’m on a call with him to discuss his new album Lagos Shuffle. Days later, replaying the record, it struck me that his cadence carries an uncanny echo of the Golden Voice of Africa, Nigeria’s first Prime Minister, Sir Abubakar Tafawa Balewa.
For the first time ever, Ibejii opened up to me about growing up as a twin in a Yoruba family. Twins are highly revered in Yoruba culture, so from childhood, he was aware of himself as something more than ordinary. He also spoke about a childhood disability that unlocked the lifelong storytelling instinct that shapes who he is today.
He told me he had never shared any of this publicly, so I felt genuinely honoured.
I spoke to him a day after he’d been out celebrating a friend’s new joint.
“It was a typical fun Lagos night out- suya, drinks, smoke.”
Lagos Shuffle is his ode to the city – a love affair with Lagos neighbourhoods – from Ijaiye amPen Cinema to Adekunle and Makoko.
Lagos Shuffle is modern and familiar, yet it feels like music they would have happily swayed to while drinking palm wine in a dimly lit bar in the 70s.
I live in Lagos and I adore this city, so I was excited to speak with a man who shares my love of this city. Yet, I was somewhat anxious that he wouldn’t open up about anything beyond the album. I had read past interviews while preparing, and found almost nothing about his private life -especially his life as a twin. That silence, he confirmed, is intentional.
“Your real name is Ibejii… What was it like growing up as a twin?”
“To be honest, thats a subject I am typically reluctant to address. I’m not sure in fact that I’ve ever answered any question on the subject before. But I’ll tell you. I grew up as one of a twin. My twin brother died within 59 seconds of our birth.
Growing up in a typical Yoruba family under those circumstances… all you hear are fears. People being careful around so you don’t die too.
So while other kids played football and did the things that young kids do, everything about me was over watched and guarded.”
“For someone raised outside Nigeria, you seem deeply tied to Yoruba culture…”
“Haven’t you heard, my parents are Yoruba! If you’re born to Yoruba parents, you may as well be born in Ajegunle or Ijebu-Ode. They don’t let go of their culture wherever they go. It is front and centre. They speak the language nonstop, eat the food always, wear the culture proudly, mix mostly with their own people, etc.
From the moment you’re born, they greet you in Yoruba, insist on the rituals, and embed you in the culture.
So yes, ties to and familiarity with Yoruba culture is what we do.”
“Let’s talk Lagos Shuffle. Are you familiar with places like Ijaiye and Agege?”
“Oh yes. I know Lagos end-to-end. I’m passionate about the city and have toured it end to end.
As you know, Lagosians are a hugely social people. From Owambes, to church invites, to friendly visits, tou find yourself reaching far and wide.”
“So when did you first come to Lagos?”
He smiles.
“Ibejii didn’t come to Lagos. How could he have. By the nature and circumstances of my birth, I was always here. Ibejii never arrives. He’s always present.”
“Tell me about the spiritual weight of being a twin.”
“Weight is a loaded word. Yet, something as revered in one’s culture of origin as being an ibeji follows you through life -whether you’re conscious of it or not.
For much of my years, I have been ‘othered’ even within my own family. The child who’s different. Something ike being Tokunbo, Abiodun, or Iyabo.”
I tell him I know Tokunbo. Not Abiodun or Iyabo.
“Abiodun means someone born in a festive season. Iyabo essentially means a mother or grandmother returned. For some, it can be heavy to be treated as the embodiment of someone no longer here.
“For an Ibejii, you’re valued not for who you are, but for the circumstance of your birth.
“And then you’re treated like a pseudo-spiritual being. Challenging for any child.
And remember, neither my twin nor I were expected to 20 minutes post birth. So the attention was intense and sometimes insensitive. Even being born in England didn’t change any of that.”
“So what sparked Lagos Shuffle?”
“Lagos birthed the musical character Ibejii. Lagos is where I live and socialise. Lagos is where Ibejii, the artiste, was formed.
Lagos is bursting with communities – all similar, all different – all confident and unapologetic – Makoko, Isale-Eko, Mushin, Agege, GRA, Ikoyi – and so on.
Covid temporarily changed that. It left our city, Lagos, unsure, uncertain, divided. Between the ravages of the disease, the isolation it forced, and the hunger that pervaded Lagos homes, Lagos temporarily lost its grit and rhythm.
I wanted to speak to the city. Start a new conversation. Celebrate its many essencees. Seek ways to help us survive together.
Highlife has always been Lagos’ recovery music. After the civil war, highlife helped Lagos find its groove again.
Lagos Shuffle is about that grit, grind, rhythm, colour, confidence, swagger. I wanted a sound that will lead the city into a new era of success and confidence”
“What makes Lagos Shuffle special?”
“It’s from Ibejii. That’s what makes it special.”
On Afrobeats and being called ‘alté’
“We are a diverse, complex, multi layered people – blessed with texture, form, sound. We owe the world to share our complexity. It is after all what makes Lagos so fascinating. .
Afrobeats is massive – huge – the leading sound from these parts. There is however more to our sound. Much more.
So, while they refer to us as alté ar alternative, we’re not newcomer sounds. We’ve always been here.
Ibejii’s sound comes from the source – storytelling -telling Africans stories like scores have since the beginning of time.
My pride in the success of Afrobeats in full and unchanging. But please spread the word. We are more that. We are juju, fuji, afro fusion, etc etc.”
“What do you hope people take away from your music?”
Music, for me, is a vessel. It carries essence, values, memory, joy, pain – all the things we often don’t have the words for. But a story is only complete when the listener finds themselves within it. So I make music hoping people will see themselves in it: their struggles, their humour, their hopes.
Take Intermission, for example. It was born from the tension and heartbreak of 20 October. I wanted to give young people, and really, everyone, a voice – in a moment of collective brokenness and frustration.
When the world embraced that project, and handed me a Headies gong for Best Alternative Album, I was reminded how critical the musician’s role in storytelling, in capsuling a moment in time, in channeling the joys or frustrations of a people.
With Lagos Shuffle, I want people to feel the pulse of the city. Not postcard Lagos, but the real one: the hips, the swagger, the noise, the grit, the colours, the sudden quiet at 2am and the chaos that returns by 4.
If listeners come away sensing Lagos’ heartbeat, its confidence, its contradictions, its beauty, I would have done my job.
“Your favourite places to hang out in Lagos?”
He laughs and passes the question to Gideon.
“If you see him outside, 90% of the time he was dragged.”
Ibejii agrees.
“My favourite hangouts are the spaces of my favourite people. I’m a homebody.
Otherwise, I love water – beaches.
And I especially love the company of fresh and unusual minds — the eccentric, the mis-characterized, the forgotten.”
On storytelling
“I started writing at four or five. I had a walking delay, so I walked much later than most kids. Yet, this meant that I saw and witnessed much more from down there.
My mind never sleeps. Like Christmas lights, it is a constant spark. Imagining is my thing – enabled by what I see.”
“I will be re-launching my Christmas song Feels Like Christmas. Gorgeous visuals. Nigerian kids dancing ballet.
“Christmas for me is church, Jollof, Coca-Cola, family – and now, Detty December – our very own Christmas festival.
“Final message for your fans?”
“Dosunmu, hold on to your oracle. Your culture, your truth.
With the world shutting their does on us – The US, Europe, South Africa, there can be no better time to rethink and rediscover home.
Lagos is home to people everywhere. Lets build Lagos together.
I finally ask what’s next after Lagos Shuffle.
“It’s the start of a series of psychedelic dance projects — full of energy, movement and… kala.”
I misheard “colour” as “kala” thanks to ODUMODUBLVCK and my Nigerian accent and wondered what kala had to do with his sound. He laughed and admitted the mishearing wasn’t far off; after all, kala can mean attitude.
So we agreed: “Kala” stays.
Ibejii’s new album Lagos Shuffle is out now on your favourite streaming service.
Follow Ibejii on Instagram, Facebook and X @Ibejiimusic.
As part of our About to Blow series we will be highlighting talented creatives in our Afrobeats Head community who are igniting the scene and poised for stardom.
For the first edition I spoke to Slay Papa, an artist who’s childhood dream as a devout Catholic was to become a priest but by divine intervention ended up studying Theater Arts at the University of Benin.
“My secondary school was a minor seminary,” he tells me over the phone.
“I believed it was Gods plan for me but I wrote a letter to a letter to Claritians about attending a major seminary after secondary school and they never got back to me. Then I became anxious about getting into university.
“During Benediction, whenever the monstrance was raised I would pray to God to help me get into university if it was his will. And if not, let me get into a major seminary.
A real lover boy, the Ibadan-native got his stage name thanks to his popularity with the girls in a neighboring secondary school.
“My friend Clement TYB and I used to pay 300 Naira record love songs at a studio close to our school and sent them to the girls in another school. I had a lot of female friends on Facebook so my friends called me Slay King and later I became Slay Papa
His dilemma meant that he was the last of his classmates to register for the UME exams but was surprisingly the first to be accepted into the university.
While in school his music took a back seat and until he graduated in 2024 when he released his song “Sport” inspired by Asake’s “Skating” off his Lungu Boy album
“I wrote it on a trip to Abeokuta. My friend Jumabee invited me and I just spent a lot of time checking out beats on YouTube till I found the perfect one.
“It’s a reminder to myself that I need to keep moving forward in life. I can’t be stagnant. Just like Asake in “Skating”
Slay Papa and Jumabee are also working on a new song to be released “soon”
Slay Papa’s Top Three:
Influences: Wizkid, Asake and Shallipopi
Dream collaborations: Wizkid, Asake and Shallipopi
Dream venues to perform in: The 02, The Royal Albert Hall and The Wembley Stadium
Slay Papa and is confident that his music will change his life
“My greatest wish is for my music to take me around the world.”
He also has a mantra which he lives by and emphasizes on all his songs.
Before we end the call he makes me promise to include it my article.
For our latest cover story, I spoke to Michael O., the Nigerian-American artist, actor and tech founder who’s been steadily building a name for himself as one of the most successful Afrobeats stars in the US.
Born Michael Odokara-okigbo, the 34-year-old has performed at the Carnegie Hall, the Lincoln Centre and for the Obamas at the White House.
Here he tells me why he thinks Afrobeats will continue to dominate global music conversations and opens up about connection with his Nigerian roots.
Hi Michael, how’re you? I’m well, how you doing?
I’m fine, thank you. Happy New Year.What’ve you been up to lately? I’ve mainly just been grinding.
You know, just hustling with music and tech for like the past five weeks.
We did a lot of music video shoots and recording in the first quarter of 2023.
So right now we’re just grinding on both fronts before releasing the new material.
I think it’s interesting that you’re such a talented artiste and also involved in the tech industry. What’s that like?
It’s busy. Yeah, I can just imagine. Yeah, but the hustle doesn’t stop. I mean, it’s really cool
to work with the people we work with. It feels more like a family, it doesn’t feel like work. Sometimes it feels like it, especially when it gets to the nitty gritty of tech but I still feel so blessed
Cool. Does your tech background ever influence your music? How does it help you as an artiste?
You know, it’s kinda really the other way around. I find that music is in someway related to tech.
I find that I’m able to use different sides of my brain in different capacities.
So with music it’s more of soulful feelings and emotions and not so analytical. But the tech part is very analytical because I’m in a leadership position, I have to manage teams so I’ve learnt a lot from being a musician, and putting in the work as an artiste and that has transitioned really well into the tech.
So my first introduction to you, not sure you remember but it was on Groover with your song “Japa” I love it by the way.
Thank you. We’re about to release the remix.
Really? With who? Egar Boy, is an amazing artiste and I’m excited about the collaboration
Cool, so like I said, that was the first time I’d heard of you and I was like “this a really nice song” But then I realized that it was co-produced by Harvey Mason, CEO of the Recording Academy. That’s huge.
Thanks
You’re welcome. So how did that happen? And what does it feel like to have such a big name on one of your songs?
It was actually per chance. You know, at the Grammys, either last year or the year before.
He heard my music and he liked it and really wanted to be a part of the project. And now he’s like an incredible advisor. I mean, he’s the man. He’s so dope.
So the song is so relatable because “Japa” is all the rage in Nigeria at the moment. So what does the song mean to you and what inspired you to tap into that whole culture of finding greater things and seeking greener pastures
Yeah, it means a lot different things to me. I wrote that song at a really interesting time in my life.
But you know, we all look for something better because we all want to provide a good life for ourselves and our families.
So like I said, there’s a lot diffrent meanings for me with that song but what I love is how people have interpreted it and what it means for them.
That’s kinda what we do as artistes, we write songs and give it to the world for them to interpret so whatever it means to you is what it means to me
Cool. So you were born in the US but you still manage to stay connected to your Nigerian roots and infuse that part of your identity into your music.
You know, it’s partly family ‘cuz even though I was born in the States, I’ve also been connected to Naija.
My family has really helped me stay grounded and connected to my roots. Also, it’s really cool where the world is going towards.
You know, there’s more understanding towards the power of Africa and in particular, Nigeria.
You know, there’s over 200 million of us, so it’s impossible to ignore us. And we’re doing so well.
For example, a lot of Nigeria expats in the States are the highest paid in the country so we’ve always been so competitive and the world is beginning to take notice.
You see a lot of people coming back here. For Detty December, for example and it’s only gonna get better and I’m excited to be a part of it.
Yeah, I’m glad that you mentioned all our achievements. The Grammys for example, which took place last week but didn’t exactly go the way we’d expected but we still think it was huge for us as a country. So many nominations. I think that was the highest ever for us.
What do you think of what happened last week at the Grammys
I mean, those things are subjective so you can’t really put a value to it. For me, the most important thing is that the world already know the value of Afrobeats and where it’s going.
It’s cool to get recognized but you win or lose, it doesn’t change our influence and how huge Afrobeats has become.
You see how big the movement has become and how everyone is listening to Afrobeats.
In the States, everybody is listening to Afrobeats, that’s the wave.
So I think the validation is unnecessary but it’s cool to see that it’s starting to come from entities like the Recording Academy/
So what do you think about the Nigerian music industry generally? Where we are right now?
I mean it’s growing and keeps going. There so many artists are just in their own vibe, who have created their own genre, and doing big things and that’s what inspires me.
It’s not just about singing about love which is great and awesome.
But a lot people are also singing about their personal pain.
The music is getting more cerebral and emotional and Afrobeats is going to continue to grow and create its own genres.
We’ll also see more people in the West continue to draw inspiration from us and vice versa
Speaking of genres, what’s yours? Do you define yours or are you like “I’d rather not box my music”
That’s a good question cuz you know, my base genre is Afrobeats but I’ve been inspired by so many kinds of music like Daddy Showkey, Otis Redding, Al Green, The Tempatations, African traditional music, Nigerian Igbo songs and Christian music. RnB, Hip Hop (Kanye’s one of my favourite artist.
So my music is a fusion of Afrobeats and RnB but hopefully, you can also see that I’m really inspired by lots of different stuff and you can hear that in my music.
So I love that you mentioned Igbo music . You’re Igbo right? Do you speak the language?
Actually, I’ve been learning from Nkenne. It’s actually one of the reasons why I created the app.
I wasn’t able to learn Igbo at home but I started the Nkenne app to teach African languages so I’ve been learning from it and we now have over 85,000 users doing the same
That’s amazing. So how does it work? Do I sign up and get Igbo lessons? Are there languages on there.
Yeah, we have nine other African languages and we’re adding our 10th in the coming weeks.
Great. So do you like Igbo food? I mean, I’m Igbo too and that’s why I’m so interested in the topic.
Where are you from? I’m from Imo State. Where are you from? I’m Anambra Cool. Where in Anambra?
Idemilli I don’t know the place but that’s amazing. So what’s your favourite Igbo food or Nigerian food?
I mean I like so many things but the first thing I get when I’m back home is either rice and stew or Egusi soup.
Then I go the fridge and eat meat pies. I eat lots of meat pies.
Any time I’m home, all I do is eat.
Great. That’s very important cuz we have lots of good food. And speaking of coming back home, do you ever plan to move here permanently?
Yeah. We just got a place in Naija, in Lagos so you know, I don’t have a family yet but my goal is to spend seven to eight months of the year in Nigeria and four months in the States.
Great. So back to the music. What is your recording process like?
It depends and that’s a good quetion. For example, “Japa” took just two hours to write and record so that didn’t take very long.
But there are some songs that take two to three years to record.
So it depends on the process and what you’re going through. Sometimes it takes me a couple of years to write a song or a couple years.
Cuz a lot of times when I’m writing I like to hear different syllables, vibe on them and whatever feels right. I like to write lyrics too.
But then there’s times when lyrics come to you in a dream so you just have to find inspiration.
When it comes, it comes. You can’t really chase it. It’s like a relationship with a woman.
You can’t really chase… Well, you can chase a woman but the inspiration has to come and it has to be authentic.
You’re absolutely right. So speaking of relationships. Are you in one right now?
I am not but I’ve been looking.
That’s also kinda been my hustle. Not hustle but you know, it’s been a fun couple of months. I was in one last year but yeah, I have been looking.
Interesting. So, how do you relate with your female fans
I mean I like writing love songs…
Yeah, I noticed. That’s why I’m asking.
Yeah, and I love love so I think my female listeners can connect to that.
And I write from an honest place too and the songs I write are honest and they come from my life.
For example, there’s a track on this EP called “Attention” and it’s about my former former relationship. About two relationships ago.
Where I felt like I gave her so much attention and she wasn’t happy and it’s something that a lot guys go through but we just don’t talk about it.
And I feel like they can connect to my music because this is real life. Just like “Japa” is real life. People go through that.
So back to your music, when did it all start for you? I’ve always been surrounded by music, ever since I was young.
You know, my mum never put me in sports and I always ask like “mum, why didn’t you put me in sports? I feel like I could have done football or something.
And she was like, “I don’t know sport but I know music and I know the arts…
Can I just say, you’re really lucky? Cuz most Nigerian parents wouldn’t do that. You’re so lucky to have had that.
Yeah, but sometimes I see how much these football players be making and I’m like, damn.
No, but my mum always put me in choirs. She surrounded me with music but I didn’t know I wanted to pursue music professionally until I did an acapella TV show called the Sing-Off which I did with my college acapella group and it made me see that I loved music so much and that was the genesis of it all.
And it’s interesting because I found my passion for technology in music.
Music has given me so much, it’s been such a good teacher so I don’t ever see myself not doing music cuz it’s been a way for me to elevate personally.
So let’s talk about your new EP. What’s it called? It’s called Birds of Paradise Interesting, where did the title come from? So my spirit animal is an eagle so it’s the bird of Naija and it’s also the bird of the States. Eagles are very territorial.
They fly really high and they are aggressive. I really respect and connect to that animal.
And also, my favourite plant is called the birds of paradise.
I forget what the official name is but that’s what it’s called.
I feel like my music is a mixture of different sounds and vibes that make you feel good and we also have a track on the EP called “Paradise” so it all just connects
I mean, I get your point about the eagle, especially as an Igbo girl myself. Because it’s like the most important bird in Igbo culture. It just represents strength, majesty and glory. My surname is Ugo-Nwachukwu and Ugo is also the Igbo word for “eagle” so I feel like I’m going love this EP.
You will. And this is my best work.
Cool. When does it come out? Second quarter of 2024.
We’ll be releasing some singles from it soon. First one will be the Japa remix, then a couple more.
We’ve shot some videos for the singles as well, So it’s coming and I’m excited.
So we’re going to play a game called “Top Three” so I’ll basically be asking about your top three favourite stuff.
So first, is your top three Nigerian artistes that you’d like to collaborate with?
Olamide, Rema and Wande Coal and Flavour too
Those are interesting choices. Top three venues you’d like to perform? The 02, anybody’s backyard…
Wait, I was about to ask if that’s like a venue in the US? But what’s the third one?
I was going to say “in the shower” but let’s say, Wembley.
Top three favourite songs of all time?
That’s an impossible question, I can come up with something quick now and then… It’s tough, really tough.
Okay, just three songs that you really like?
That’s still really tough. I mean I don’t know the kind of answers you’ve been getting from musicians but that’s a tough question.
But I like Stevie Wonder’s music, he’s one of my favourite artists of all time
So, in one sentence, what would you like to achieve with your music
Yeah, so right now, how I’ve been using my music is working out with it and running with it, especially this new project that’s coming out.
You know, just get on a good vibe cuz it helps me work out and clears my mind/ So I want it to do the same for everyone who listens to it.
So if that means, the songs help them work out, step up to someone they’re afraid to talk to or stand up to someone that annoys them or tries to bring them down. So we’re going to play a game called “Top Three” so I’ll basically be asking about your top three favourite stuff.
So finally, what’s your prediction for the AFCON final match between Nigeria and Côte d’voire?
I mean, there’s no question about it: victory for Naija.
But what’s funny is we have Ghanaians on our team and they’re not supporting Nigeria. And I’m like why? I supported Ghana last year. We have a lot haters…
Yes, people don’t like us much and I can see why. We can be annoying sometimes
Yes, that’s cuz we dominate. But yeah, of course I’ll be rooting for Nigeria. I predict 2-0 in our favour.
Alright. Good luck to Nigeria . And thank you so much for talking to me, Michael. This was amazing. Good luck with the new EP, I can’t wait to listen to it and I can’t wait to see you dominate.
