“Banga!” – RewardBeatz Talks Hits, Hustle, and the Future of Afrobeats.

Behind The Booth with RewardBeatz "Banga!"

Special Issue Nov. 2025

Interview Conducted by Ayo Fabiyi

Designed by Chiagozie Mbuba

From crafting beats that make the streets move to producing records that top global charts, RewardBeatz has carved his place as one of the most influential producers in Afrobeats today. With smash hits like Buga, RTID, Xtra Cool, and most recently the Kidd Carder and Young Jonn collaboration Calculate II Remix, his sound has become a cultural marker that travels beyond Nigeria to every corner of the world. In this exclusive interview with Solid Guy Magazine, RewardBeatz opens up about his journey, the magic behind his signature tag “Banga,” his creative process, and his vision for the next wave of producers coming after him.

Q. You’ve been behind some of the biggest Afrobeats records of the last few years. Take us back.. how did your journey into music production begin, and what was the turning point where you felt things were really starting to click?

A. My music journey actually started back in my university days. I needed something productive to pour my energy into outside of schoolwork, and music had always been a passion since childhood. That curiosity pushed me into learning production. Then COVID happened, suddenly I had time to really lock in, practice every day, and improve. After the lockdown, I met T-Classic and we created La Cream. From that moment, I knew this wasn’t just a hobby anymore.

Q. You’ve produced massive hits like Buga, RTID, and Xtra Cool. What was it like working on those records, and did you ever imagine they’d travel so far and connect with the world the way they did?

A. Honestly, every time I’m working on a new song, my mindset is always to make something great, something that will connect. So seeing those songs travel like that, makes me so proud. I am so happy to be part of records that became cultural moments. And yes, I always imagine the music going far. You have to believe in the sound first before anyone else does.

Q. You recently produced Kidd Carder and Young Jonn’s Calculate II Remix, which is already buzzing heavy. How did that collaboration happen, and what makes the track special for you compared to your previous works?

A. At the time, I was actually living in the same place as Kidd Carder, so the connection was natural. We’d create just based on vibe... no pressure. Calculate was one of those ideas that felt special from the beginning. The remix with Young Jonn elevated it even more. What stands out for me is the energy and how fresh, youthful, and authentic the song is.

Q. Your producer tag “Banga” has become instantly recognizable. What’s the story behind it, and how important do you think a tag is to a producer’s identity in today’s music scene?

A. Producer tags are like a signature, they give recognition to the mind behind the music. “Banga” came from wanting something short, catchy, and memorable. The moment you hear it, you already know RewardBeatz is responsible for the vibe. In today’s world where producers are stepping into the spotlight more, that identity is important. Plus, a lot of consumers just don't have the energy to go and check the credits.

Q. Your sound balances street vibes with mainstream appeal. How do you approach creating beats that speak to both the culture at home and audiences abroad?

A. Omo i really dont know how to respond to  this question, I just create from the heart. I’m inspired by the streets, the rawness, the bounce but I also pay attention to melodies and elements that feel universal. I don’t overthink it. The music finds its balance naturally.

Q. As someone who’s worked with big names in the industry, what do you look out for in an artist before deciding to collaborate with them?

A. For me, it’s all about the energy and how good the sound is. I’m always open to working with new talents just as much as established names. If the vibe is right and we can make something beautiful together, I’m in.

Q. Producers are often the unsung heroes of the music industry. Do you feel like producers in Afrobeats are finally getting their flowers, or is there still more work to be done?

A. We’re getting more recognition than before, for sure but there’s still plenty of room for growth. Producers are a huge part of Afrobeats’ global success, and the industry is just beginning to fully celebrate that.

Q. Every producer has their creative process. What does a typical studio session with RewardBeatz look like, from idea to finished song?

A. The best way to understand it is to experience it. It’s all vibe-driven. There’s a lot of experimenting, a lot of energy, and most times magic just happens unexpectedly.

Q. Many young producers look up to you. Do you see yourself starting an academy or a platform to mentor and support upcoming producers in the near future?

A. Definitely! At some point, I’d love to mentor upcoming producers and provide opportunities I didn’t have early on. When the time and structure is right, it will happen.

Q. Finally, when people look back at RewardBeatz years from now, what do you want your legacy in music to be?

A. Greatness. I want people to look back and say RewardBeatz played a major role in shaping Afrobeats and pushing the sound forward globally. That’s the mission.

RewardBeatz is not just creating music, he is shaping the culture. Every time you hear that “Banga” tag, remember it is a stamp of history being made. For us at Solid Guy Mag and for every reader tuned in, his journey is a reminder that Afrobeats is in safe hands and the future is already here. Remember to Stay Solid!

 For over a decade, Masterkraft has been the quiet architect behind some of the most defining sounds in Nigerian music. From street anthems that shook the clubs to timeless records that bridged Afrobeats with global audiences, his fingerprints are everywhere—yet his humility keeps him grounded. A producer, songwriter, and sonic innovator, Masterkraft embodies both consistency and evolution in an industry that never stops moving.

In this exclusive conversation with Solid Guy Magazine, we sit with the hitmaker to explore the philosophies that have kept him relevant, the challenges he has faced and conquered, and what lies ahead as he continues to shape the future of African music.

1. What first sparked your interest in music and how did you evolve into the multifaceted artist you are today?

Masterkraft: My interest in music started from a young age. I learnt how to play the keyboard and eventually played in church. I’d say it was God’s plan for me to do music. My first production gig paid me ₦500 — before that, the most I’d ever made was maybe ₦15 from selling a bag of pure water. That day I told myself, “If making beats can earn me this much, I’m sticking to this.” Over time, I spent more hours in the studio, learning and absorbing as much as I could. I just kept doing my thing, and the rest is history.

2. When you start a track, what’s your typical creative process? How do you know when a track is finished?

Masterkraft: Honestly, it depends on the mood and the setting. I like to connect with whoever I’m working with — talk, laugh, catch a vibe — because music is a conversation before it becomes sound. There’s no formula, just pure connection and creativity.

I know a track is done when there’s nothing else to add. You just feel it.

3. You’ve blended genres like highlife, Amapiano, jazz, soul, gospel, and Afrobeats. How do you balance traditional elements with innovation?

Masterkraft: The balance comes from making sure the tradition isn’t lost, but dressing it in a way people can vibe to. That’s why when you hear a “Masterkraft” record, it feels familiar yet fresh. Tradition is the root, innovation is the branch, and the sound is the fruit.

4. Your most recent album, Light, reflects both personal and musical growth. What messages did you aim to convey?

Masterkraft: Light was a personal project. It’s faith-conscious — my journey of grace, faith, and patience. I named it Light because of my life journey and how my mentality has shaped what I’ve been able to overcome. I wanted to turn that into songs, something I could pass on.

The project is about exposing truth: showing people that what we’re searching for is within us. If you’re rooted in God, you’ll find your purpose. We just need His light to guide our path.

5. Which track on Light holds the most emotional resonance for you, and why?

Masterkraft: Definitely “Ezebube.” That day in the studio, we were talking about how it doesn’t make sense that God, in all His almighty power, would come down to die and save us. After that conversation, we recorded the song — and everybody started crying. It was so emotional.

6. How did the creative process behind Light differ from your previous projects?

Masterkraft: Light was completely different because it wasn’t just about making music — it was about finding myself and deepening my relationship with God.

In terms of technique, I used a lot more live instrumentation to capture that raw gospel energy. Everything was intentional; I wanted each sound to lift the listener’s spirit. For collaborations, I worked with faith-driven artists who shared the same fire for God.

7. You’ve stayed relevant in Nigeria’s music scene for over a decade. What philosophies keep you grounded and evolving?

Masterkraft: Talent will open doors for you, but character keeps you in the room. For me, it’s about constantly learning, staying humble enough to adapt, and never losing sight of why I make music. Trends come and go, but if you stay true to your purpose, keep refining your craft, and surround yourself with the right people, you’ll evolve without losing your identity.

8. Looking back, what stands out as your most memorable moment?

Masterkraft: I have so many, but one that stands out is the day I planned to hawk groundnuts. It rained, so I stayed home. That day, I went to a guy in my area who I admired because he played the keyboard. I asked him to teach me, and he gave me the basics. From there, I started playing in church. Looking back, that rainy day changed my life.

9. As we move through 2025, what should fans expect from you?

Masterkraft: I’m working on a programme for young people in music. Beyond teaching them how to make music, I want to help build their character. The industry is tough — talent alone isn’t enough. If they can combine skill, wisdom, and the right mindset, they’ll thrive, not just survive. I want to help them find their unique sound, discover their “why,” and give them the tools to stay relevant without losing themselves.

Behind The Booth (Special Edition) 

With 255™

Aug. 2025

Interview Conducted by Olulana Mofiyinfoluwa 

Design by Chiagozie Mbuba Tochukwu

1. Let’s start at the roots.

Q. Berlin isn’t the first place people associate with Afro-fusion. How did 255 come together, and what inspired the sound you’re crafting as a collective?

A. We’re three siblings—so we’ve basically been a band of brothers all our lives. We built our first studio in a basement with the Room No. 255. It was the space where my siblings and I came together to start doing what we do today. Back then we were just doing music that we liked without labeling it in a certain direction. My brother, Charlie, uploaded those beats to Instagram and suddenly we had all these messages from Nigerian Artists. It was the logical next step for us to follow our music in real life. When we got on our first flight to Lagos, we transformed that Room number 255 into our band name. We eventually outgrew that room, but the number stayed with us. Now, 255 is wherever we go.

2. Three minds, one voice.

Q. Everyone brings something unique to the table. You move like a unit.

a) Charlie and Guy—on the sound boards. What’s the core philosophy behind your production style?

A. We don’t approach music or art with strict rules—we stay open to new ideas and focus on creating what we genuinely love. While we often collaborate closely, it’s not a fixed formula. Sometimes, a track may come entirely from one person’s vision, and that’s just as valid. Finding your own style and identity in music and production is an ongoing, evolving journey—and we’re right in the middle of it. We stay curious, experiment with new sounds, and embrace new technology. Our album Odabo is a great example.

b) Louis, as a filmmaker, your role goes beyond music. How do you use visuals to translate emotion, culture, and narrative in a way that words or beats sometimes can’t?

A. I come from a documentary background. Naturally, we document every session—the journey, the mo- ments we encounter—because we want to tell the story behind the music too. It gives our work depth and cultural context, showing a side that’s rarely portrayed. This October, we’re releasing a 25-minute documentary that captures exactly that. Even in our music videos, we adopt this documentary-style approach. It’s our quiet rebellion against overly staged, glossy visuals. Check out Sha Na or Can’t Fake This—they’re intentionally real, raw, and simple. That’s where beauty lies for us.

c) Collaboration vs. compromise. How do you navigate moments when you don’t creatively align? Is there a tie-breaker, or do you let time guide your decisions?

A. We fight like good siblings do!

3. Global mindset, African heart.

Q. You’ve built a solid listenership in Nigeria—Lagos, Abuja, and Port Harcourt specifically. What is your connection to the African market, and what does that audience mean to your journey?

A. Nigeria welcomed us with so much love and openness from the very start — that means everything to us. We’ve grown together with our audience, and we want to keep that connection strong by being there in person as much as we can.

4. From Berlin blocks to global landscape

a) As a Berlin-based collective, how do you maintain cultural authenticity while still innovating for a global soundscape?

A. We regularly touch base in Nigeria, to keep us grounded and connected to what’s happening and the fast evolving music. On the flip side, being in Berlin gives us a certain outside perspective, which can be valuable too. But honestly, finding that balance is tough—we’re still figuring it out.

b) What have you learned from creating across different cities—between Europe and Africa? Has that changed your perspective on storytelling?

A. Working between Europe and Nigeria has shifted our perspective in many ways. Nigeria, in particular, has become like a second home to us. Through documenting our time there—especially on TikTok— we’ve seen how impactful it is to highlight the country’s beauty. The response has been overwhelm- ingly positive. It made us realize how often Nigeria was and sometimes still is portrayed from only one angle. We’re proud to contribute, even in a small way, to a more balanced narrative.

5. What does the booth mean to you? Walk us through your studio rituals.

a) How do you approach songwriting and production as a trio?

A. Studio time is our happy place. Our most favorite part about it. There is no space in the studio for all the bullshit that you are dealing with everyday in this music business.

b) Nikotin is one of your most successful tracks, what’s the story behind its creation?

A. Actually, our most successful track so far is Dey Play on Burna Boy’s album I Told Them..., even though we’re not officially credited as a band. It all started one morning in Lagos when our friends LeriQ and Bryan showed up at our house and said, “Get ready we’re going to Burna’s place.” We had no idea what to expect, and were super excited and honored. That night, we had dinner with Burna and headed back to the studio around midnight. We played the first beat—and he jumped on it right away. We ended up recording Dey Play until 6 AM. Watching him work was honestly mind-blowing. When we finished, we went outside and tested the track on the sound systems in his cars. It was surreal.

6. Let’s talk reception. Your catalog boasts over 23 million plays on streaming platforms.

a) At what moment did it hit you that 255 was becoming more than just a passion project?

A. To be honest, 255 was never just a “project”. 255 is who we are our dream and we went all in from day one. But that first trip to Lagos was definitely a defining moment when suddenly a lot we had in our mind became very real. And it hit hard in both ways.

b) You’ve already proven that you’re more than a studio act. How important is community to the legacy you’re building not just through music, but as a movement?

A. I’m glad that’s how it’s perceived, but honestly, it’s the area we want to improve the most. We want to show our faces more, build more personality, and grow a bigger community. So far especially in Lagos community has made so much possible. People helped us, welcomed us. We wouldn’t have made it without them, and we want to give back as much as we can.

What’s next?

Q. What should fans and new listeners expect from 255 in the next phase—any upcoming proj- ects, live shows, or collabs we should be ready for?

A. We’re in the middle of the rollout for our next album TRINITY. It’s our biggest project so far—two years in the making—and it features many of Naija’s favorites. We just dropped a single with Oxlade, Minz & NSG. Next up is a track called Control with Joeboy & Bella Shmurda. You heard it here first! Full Abum dropping in November

8. Legacy

a) If 255 were a message or a manifesto, what would it be? Exposure to chance. No rehearsal. No predicted end.

b) What do you want the next generation of creatives—especially in Berlin, Lagos, and be- yond—to take away from your journey?

A. Same thing. Expose yourself to chance and explore new paths. There won’t be a rehearsal for this, so be ready—and believe.

Chukwuemeka Gabriel Obi, better known as Le Mav, is a Nigerian record producer, songwriter, multi-instrumentalist, and DJ—one of the earliest contributors to the alté sound. Recognized for his unique sonic fingerprint, Le Mav has produced for notable artists including Tay Iwar, Odunsi, Cruel Santino, BOJ, Seyi Vibez, Falz, Tiwa Savage, and Masego.

In 2023, Le Mav earned a Grammy nomination for his contribution to the Black Panther: Wakanda Forever soundtrack (“Anya Mmiri” featuring CKay & PinkPantheress) in the category Best Score Soundtrack for Visual Media. In 2024, he produced “Ogo” by Seyi Vibez and Tion Wayne, which peaked at No. 3 on the Top 100 Nigerian Songs chart.

From his debut production credit in 2016 to the present, Le Mav’s portfolio reflects not just his production genius but his profound impact on Nigerian music.

We caught up with the sonic architect of the alté sound in the latest edition of Behind The Booth.

 1. Early Days, Influences and Musical Journey 

SOLID MAG: Your first production credit was Situationship with Odunsi & Aylo in 2016. They say firsts are unforgettable. Looking back now, how much would you say that song set the path for your journey as a music producer?

Le Mav: Situationship was a moment. I was still in uni, balancing classes and trying to make music. I didn’t expect the song to do as well as it did, especially at that time. It definitely taught me the value of chasing my passions.

SOLID MAG: You started playing the piano at just four years old, along with other instruments, and quickly excelled. Music has clearly been a natural calling for you. But what initially sparked your interest in music production, and how did your journey unfold?

Le Mav: Kanye West. When I was in high school, I was obsessed with Late Registration and Graduation—especially Flashing Lights. At some point, a classmate gave me a cracked copy of FL Studio, and from then on, it was a wrap. I’d spend hours trying to recreate beats from songs I liked and make something in that vein.

SOLID MAG: Can you remember the first beat you ever made?

Le Mav: I absolutely cannot remember my first beat—and for good reason. That shit was probably terrible. But with every great endeavor, you’ll look like a fool at the beginning.

SOLID MAG: Up until Stranger, most of your work had been solely music production. What inspired the transition to songwriting?

Le Mav: Stranger was inspired by an R&B song by B. Lewis called "Strange Things", hence the name Stranger. Tay, being a songwriting genius, took that and ran with it—that’s how Stranger in My Head came about. So technically, my first songwriting credit was just alignment. I’ve always been a lyric lover, so it made me want to get into the songwriting process more.

SOLID MAG: Were there any specific producers or artists who influenced your sound when you first started making music?

Le Mav: Still Kanye West, but also Timbaland, No I.D., Just Blaze, Sarz, Don Jazzy, and Beats by Jayy (may he rest in peace).

2. Creative Process & Sound

SOLID MAG: It’d be hard to tell that the same person who produced Ogo also produced Born Again. When collaborating with artists, how do you tailor your production to their style while still maintaining your essence?

Le Mav: Tailoring my sound to the artist was something I did when I first started producing. With more experience, I realized my strength is bringing artists out of their comfort zones. That was the vibe with Seyi—he wanted something soulful, and we crafted that pocket together. Born Again was also Santi wanting to go deeper into an indie-hip-hop fusion. For me, the music always comes first.

SOLID MAG: You're recognized as a genre-blender. How would you describe your signature sound?

Le Mav: My signature sound is rooted in emotion—usually nostalgia. I love making people feel something familiar but slightly new.

SOLID MAG: Do you have any rituals before starting work on a track?

Le Mav: Lately, I’ve been in touch with my faith. I had a session with Bkay, and we made an incredible song. We both agreed God was in the room. So now, my ritual is inviting God into every session to make it special.

SOLID MAG: How do you typically approach a new song?

Le Mav: Sometimes I go off muscle memory and get the idea down quickly. Other times, I try to think outside the box and create something completely fresh. My go-to these days is definitely starting with the guitar.

SOLID MAG: What’s the most challenging part of the song-making process for you?

Le Mav: Understanding what the song wants to be. As a producer, I believe it’s my job to find the best way a song can be brought into the world. Experience has taught me that ego must leave the room—nothing is more important than the song reaching its full potential sonically.

SOLID MAG: How do you know a song is finished?

Le Mav: After a while, songs tell you when they’re  done. I used to overproduce in my early years, but now I believe less is more. I spend less time adding layers and more time making sure the foundation is strong.

 3. Projects & Collabs

SOLID MAG: You’ve worked with a wide range of talented artists, including Santi, Odunsi, Amaarae, CKay, and Seyi Vibez. What makes a collaboration exciting for you?

Le Mav: Working with talented people is always exciting. Everyone’s life experience affects how they create—from melody choices to word choices. Watching that unfold is inspiring.

SOLID MAG: Is there a collaboration you’ll never forget? What made it stand out?

Le Mav: Heat. That song changed my life in ways I still haven’t fully understood because more keeps unfolding. It came from such a pure place that Tay and I both tapped into. The song speaks for itself. I’ve never heard anything quite like it.

SOLID MAG: Gold and Gold II are such beautiful works of art. You’ve known Tay Iwar since 2017, and since Heat (amazing record, by the way), every collab has been fire! Tell us about your friendship with Tay and how a random link-up in Abuja led to one of the most exciting duos in Nigerian music.

Le Mav: A mutual friend told me about Tay and said we’d click. The first time we met, we talked for hours about music and life, and I knew we’d be friends for a long time. We started working on songs individually, then eventually created Gold because our chemistry was undeniable.

SOLID MAG: It’s kinda early, but... is there going to be a Gold III?

Le Mav: Who knows what the future holds? Haha.

SOLID MAG: Aside from Kaytranada, are there any dream collaborations you're eyeing?

Le Mav: Definitely Sarz!

4. Industry & Growth

SOLID MAG: Being part of the Black Panther soundtrack was a big deal—and then it got nominated for Best Soundtrack at the Grammys. What was your reaction? And if you could go back to the J-Street band days and tell young Mavi one thing, what would it be?

Le Mav: That was unexpected but so welcome. Shout out to my guy Doz for letting me know where and when the sessions were, and to P. Priime for working on the song with me. Funny enough, I feel like I manifested the Grammy nom. My producer friends—Jonnywood, Rayo, and I—used to joke about becoming Grammy-nominated. And that same year, we all got nominated for different projects. I’d tell young Mavi to keep pushing—you never know what’s possible until you try.

SOLID MAG: Not every producer is also a multi-instrumentalist, DJ, and songwriter. What drives your continuous growth in such a fast-evolving industry?

Le Mav: Love and passion for music. There’s a purity in creating that feels bigger than me—it’s a calling.

SOLID MAG: You’ve been in the alté scene for nearly a decade. As one of its earliest contributors, what challenges did *alté* artists and producers face back then, and what still persists today?

Le Mav: Alté music was always funny to me—you never know what sticks. But the name stuck, and we got stuck with it. When you’re doing something different, people often don’t understand it, and that misunderstanding can turn into resentment. That’s still a challenge. People’s art is sacred and should be treated as such.

SOLID MAG: What’s one thing you wish more people understood about being a producer?

Le Mav: It’s mostly a thankless job, but when it’s fulfilling, it’s the most satisfying job in the world. I wish people respected the role more. Without producers, all we'd have are acapellas of our favorite songs.

 5. Personal Touch

SOLID MAG: Outside of music, what are some of your passions or hobbies that influence your artistry?

Le Mav: Honestly, I enjoy reading and gaming. But most of my passions still orbit around music—especially instrumentals. I taught myself guitar, and I want to become an incredible guitarist within the next two years.

SOLID MAG: What are your top five songs of all time? (No particular order.)

Le Mav: I can’t say “of all time” because it changes, but right now, my five would be:

- Flashing Lights – Kanye West  

- Intro (The Warm Up) – J. Cole (It’s an interlude, but I love the piano on it)  

- MA.A.D City – Kendrick Lamar  

- Pound Cake – Drake  

- New Law – Mikky (Been listening to him a lot lately—definitely a favorite)

SOLID MAG: If you weren’t doing music, what do you think you’d be doing?

Le Mav: Omo! I honestly can’t see myself doing anything else. Music feels like my destiny. I’d be lying if I said otherwise.

SOLID MAG: What’s one piece of advice you’d give to up-and-coming producers?

Le Mav: Practice in secret, show out in public. It takes longer than you expect to become great. You can document your journey, but the camera won’t capture the depth of the effort it takes. So: practice in secret, but when it’s time to perform—go all out.

Since his breakout in the music industry in 2023, Nasboi has gained nationwide recognition as an artiste in the Nigerian music scene and has released his debut album titled, I.N.I.T.

Lawal Michael Nasiru Bolaji, popularly known as Nasboi, was already a well-known figure in Nigeria’s entertainment world as a comedian. In February 2023, he ventured into music with his debut single "Lover Boy." By November 2023, he released his hit single "Umbrella," featuring Wande Coal. Despite facing some criticism, the song has achieved considerable success, surpassing 50 million streams across all platforms.

At a recent event, Nasboi revealed that music has always been his true passion and that he initially ventured into comedy skits by imitating Davido to capture Davido's attention for his music career. He also mentioned that 2Baba has been and remains his biggest influence.

Now, to solidify his presence in the music industry, Nasboi has dropped his debut album titled I.N.I.T – In Nasboi I Trust. The project includes 9 tracks and boasts features with Chike, 2Baba, Falz, Joeboy, Pheelz, and Wande Coal, with production credits from DJ Coublon, DeeYasso, Amujei, and Killertunes.

 

BEHIND THE BOOTH WITH TAYO BEATS

ISSUE 3.0 

JULY 2024

Interview conducted by: Olulana Mofiyinfoluwa (@finnnix)

Photos Credit: Oluwatosin Samuel Omotayo (@tayo.beats)

Design: Mbuba Chiagozie Tochukwu (@agozieee_)

 INTRODUCTION:

Q. Can you share a bit about your background and what led you to become a music producer?

A. My name is Oluwatosin Samuel Omotayo, known as TAYO. Growing up, I loved music, sounds intrigued me. I always loved to figure out how records were put together. My dad had a number of records playing, from gospel to highlife, to country music. He wasn’t a fan of Nigerian pop and hip-hop music but I always listened outside with my friends. In his younger days, he led a church choir and wrote lots of songs he later showed me, saying he would record them some day. I also remember getting a little piano gift from him then, I never really figured it out but I enjoyed playing with it.

Then in uni, I did a lot of music with my close friends, we were always looking up the hardest of songs until lockdown I stumbled on FL studio app. I did not really have anybody to tell me what to do so I learnt it myself, God brought the right people my way, collaborated with a few producer friends and within two years, I started cooking up for artistes. I am still figuring things out till this moment.

 Q. How would you describe your unique style and approach to music production?

A. Well, nothing elaborate, just me, my laptop and earphones. I love to lay chords, so as to set the pace for the rest of the process. I try as much as possible not to overthink or complicate anything. I also make sure I don’t really have a particular approach per say, because I hate routine. I try to be spontaneous as much as possible.

I can say my basses are my biggest priorities in my beats, because apart from melodies, I believe a large percentage of listeners by default, will listen to a song with sweeter basslines than others. After that, anything goes.

 

UNCONVENTIONAL INFLUENCES :

Q. Can you share some unexpected influences that have shaped your music production style?

A. Before I started making beats, I used to watch Jon Bellion’s beat production videos a lot. His sound and process is so inspiring and organic, so subconsciously, I always think like “I have to make something different from what I always hear”.

Q. Are there any non-musical sources that inspire your creative process?

A. Food, I create very efficiently when there’s food around, Money. TBH, there is something about getting paid that makes creative blocks disappear, ask any commercial producer; and my woman’s voice, LOL.

 

MUSICAL EVOLUTION:

Q. How has your musical taste evolved over the years, and how does it reflect in your production today?

A. Nowadays, I am more critical about music because it is easier for me to pick up little details than I used to, before I got into the creation process. I also discovered that paying attention to sound selection really made production easy for me. Sometimes, the difference between and RnB and Trap beat can be the choice of kick or hihats.

Q. Can you pinpoint a specific moment or experience that significantly influenced your approach to music?

A. I remember my first ever beat making session with an artist. He hummed some melodies and I laid some chords to it, and he was like he wanted some changes that were surprising, because I wasn’t feeling the changes he was asking me for. We had a little back and forth because I believed my own proposition sounded perfect to me, and even others. I was upset he wanted to change it. We eventually came to a conclusion. This happened other times and has made me realize that inasmuch as I want to be free to express myself, I must also consider my clients and create an allowance for them to express themselves also, for the whole product to be a success.

COLLABORATION CURIOSITIES :

Q. If you could collaborate with any artist, living or dead, who would it be and why?

A. Kanye West. He is a genius, I will like to know what goes through that man’s head.

Q. Share an anecdote from your favorite collaboration – the unexpected, the challenges, or the magic moments.

A. A lot of my collaborations have been funny, spontaneous, like on the spot, but once, while I was on my year 4 industrial training, LitTY called while I was in the office that he was planning ‘THE CYPHER’. After the call, I heard a string sound outside from some speakers blasting loudly, got inspired and loaded FL on the spot, found a string sample and finished up the beat in 30 minutes, it was my first hip-hop beat in almost 6 months. Sent it to him and he put 5 rappers on, the result was fierce LMAO. You need to check it yourself lol. I have really weird stories about how many songs I produced were made.

INNOVATIVE TECHNIQUES:

Q. What's a unique production technique or trick that you've developed and swear by in the studio?

A. This is funny but I don’t overthink. I can cook up with whatever comes to me at that moment, chords first, bass or drums at other times. Once I start overthinking, I close my PC.

Q. Are there any unconventional tools or instruments you frequently incorporate into your productions?

A. In almost all of my choruses, I use a long one note string. It just kind of fills up every space and gives the beat a euphoric or ‘uplifting’ kind of feel.

 

MUSICAL SYNESTHESIA:

Q. If your latest project were a color, what would it be, and why?

A. Red. A lot of collaborations I’m currently working on currently, including my EP have romance based themes. I think red colour is a theme colour for romance, burning passion, sensuality and I love romance. Stay tuned.

Q. Can you describe the emotions or images you aim to evoke with your music?

A. Euphoria, sweet music. I want my listeners ‘head to burst’. Like ‘bro who is the guy behind this?’ I love when my beats carries, visualizes or make up for whatever my artistes are saying on it.

SOUNDTRACK OF LIFE:

Q. If your life had a soundtrack, what three songs would be on it right now?

A. Sweetness by Obongjayar and Sarz,

7 years by Lukas Graham,

“DEY FOR ME", it’s my new song as a producer. i collaborated with KAMSI, Tayo x Kamsi, check it out”

Q. Is there a particular song that encapsulates a significant moment in your life?

A. I’m not forsaken by Maverick City, Chandler Moore, Naomi Raine.

 

MUSICAL PHILOSOPHY:

Q. How do you see the relationship between technology and music evolving in the future?

A. Well, the main point of technology is to make work processes easier, music isn’t left behind. Specifically, the use of AI will upset lots of traditions, OGs will lose their jobs, others who are catching up to this new wave will remain and newer people will be brought in.

Q. What's your philosophy on the balance between technical precision and raw emotion in music?

A. Shortly, you MIGHT need emotional inspiration to lay up the foundation of whatever you’re cooking up at the moment, then technical precision to make your product perfect or close to perfect. Talent vs hard-work type shit.

GENRE FUSION :

Q. If you had to create a new genre that best represents your style, what would you call it?

A. I love dark RnB and 80s pop so much, so any genre I might create will have a trace of it. I have not figured out a name yet. For now, I can just say ‘something-fusion’.

Q. How do you navigate blending diverse genres while maintaining a cohesive sound?

A. I think the trick to this is dependent on how creative and how much you can combine and flip sounds across genres. I also collaborate with producers that specialize more in other genres.

STUDIO RITUALS:

Q. Share a quirky or unique studio ritual or habit that you believe enhances your creative process.

A. I drink water. LOL.

Q. Do you have any superstitions or specific routines you follow before starting a new project?

A. There’s really not one I can pin point at the moment, it’s all spontaneous. However, when anyone tells me to come to a studio and ‘let’s vibe’, I just know there will be nothing to show for it afterwards. I believe as much as we’re trying to have fun and not be restrictive, we still have to be intentional about this craft.

FUTURE SOUNDSCAPES :

Q. What trends or changes do you predict in the future of music production?

A. Expect more and more fusions from producers. Currently I can say there’s being a gradual shift from afro-amapiano fusions to electronic fusions in the Nigerian music scene. Producers like Sarz, London, Arieenati, Ozedikus and many Nigerian underground producers like myself are very experimental. I believe the alte movement will become mainstream and bigger than it currently is, the community is saturated with geniuses. However I can also say we don’t know what to expect in few years to come, because music is like water, it can only be controlled to some extent.

Q. If you could time-travel and produce a track in any era, past or future, when and where would it be?

A. Bohemian Rhapsody, by Queen; Made in Lagos by Wizkid; Park O, Sarz and Lojay.

Also 808s and heartbreaks by Kanye West. The first time I listened as a producer, I was blown. I wished I would be part of a culture shifting project of that caliber.

Nigerian 70s musical era, I’ve been listening to Nigerian jazz of recent, the Lijadu sisters, Fela, Okotie, Sunny Ade, I think I’d have done something ‘cooler’ at the time