Music And Moments With Obedo PF & Vicoka

Issue 14.0 May. 2026

Interview conducted by Chiagozie Mbuba Tochukwu 

Design by Chiagozie Mbuba Tochukwu 

Q. Let's start from the beginning. Port Harcourt. Anambra. Two different cities in the East, what was the common thread growing up?

A. Vicoka: The common thread is the hunger. Not hunger like you're greedy, hunger like you grew up watching your mother work herself to the bone and you told yourself her sacrifice cannot be wasted. That is an Eastern thing. Whether you are Igbo, whether you are Rivers, whether you grew up in the city or the village,there is this pressure that comes from home. From family. From knowing where you came from and what it cost for you to be here. Port Harcourt shaped everything about how I see the world. The streets there are real. The love there is real. And the pain there is real. I carry all three.

A. Obedo PF: For me, it was struggle and hope at the same time. Growing up in the East, you already understand early that nothing is handed to you. You either hustle or you stay stuck. That mindset shaped everything.

Q. What did music look and sound like in your household before it became yours?

A. Vicoka: Music in my house was church. That was it. My mum is a woman of faith, so the sounds I grew up around were worship songs, hymns, and gospel. That was the first music I ever truly felt not just heard, but felt in my chest. When I joined the choir at 13, it was not because someone asked me to. It was because that was the only place I felt like myself. Like I was allowed to be loud and emotional and honest all at the same time without anyone telling me to calm down. So before music became my career, it was my church. Literally.

A. Obedo PF: Music was always there church, street, parties. Different sounds, but all emotional. At first, I was just listening, vibing... but deep down, I knew it was more than entertainment for me.

Q. When did you first realize this wasn't just a hobby, that music was actually going to be the road?

A. Vicoka: There was a moment I cannot give you an exact date where I was in the studio and I played back something I had just recorded and I started crying. Not because it was sad. Because it was true. I had said something in that song that I had never been able to say out loud to anyone. And I thought: if this can make me feel like this, what is it going to do to someone who has lived the same thing? That was the moment. I stopped thinking about music as something I did and started thinking about it as something I was supposed to do. There is a difference. One is a choice. The other is a calling.

A. Obedo PF: When I saw that my words were connecting with people. Not just vibes real connection. I when I realized it was the only career path that gave me peace That’s when I knew this thing is bigger than me.

Q. Vicoka, your song "Port Harcourt" hit different because it wasn't just about a city; it was about your mother, your survival. Obedo, your EP is literally called Hope for Ghetto Youths. How much of your music is autobiography?

A. All of it. I do not know how to write any other way. "Port Harcourt" is literally my mother's story. Her walking from Borokiri to Trans-Amadi every day after my father passed not because she wanted to, but because we needed to eat and she was the only one left to make sure we did. I watched that as a child and it broke me and built me at the same time. When I wrote that song I was not trying to make a hit. I was trying to say thank you in the only language I had. The fact that it connected with so many people the fact that people in places I have never been heard that song and cried told me that pain and love are universal. You do not have to be from Port Harcourt to understand a mother's sacrifice.

Q. Talk to us about the moment you decided Lagos was where you needed to be. Was it a plan or were you chasing something you couldn't name yet?

A. Vicoka: Honestly? I was chasing something I could not fully name yet. Lagos was not a plan written on paper. It was more like a pull. You reach a point in your career where you have done what you can do within your current walls and you feel the ceiling. And Lagos does not have a ceiling or if it does, it is high enough that you cannot see it from the ground. I needed to be around people who were moving, who were building, who were hungry the same way I was hungry. Port Harcourt made me. Lagos is where I am going to show the world what Port Harcourt made.

A. Obedo PF: I was chasing something I couldn’t even explain. I just knew Lagos is where things happen. It wasn’t comfortable, but I had to come.

Q. Lagos humbles everyone at first. What did the city take from you before it started giving anything back?

A. Vicoka: Lagos took my comfort. I will be honest about that. When you are at home, even if things are hard, you have a context. People know you. Your street knows you. Your mum is somewhere nearby. Lagos does not care about any of that. Lagos meets you as a stranger and keeps treating you like one until you prove otherwise. It took my sense of certainty that feeling of knowing how things work. In Port Harcourt I understood the codes. In Lagos I had to learn everything again from scratch. But I think that is also what makes you grow. Discomfort is not punishment. Sometimes it is preparation.

A. Obedo PF: It took comfort. It took peace of mind sometimes. Lagos will test you mentally, financially, everything. But that same pressure built me.

Q. There's a particular kind of hunger that comes with being Eastern in Lagos, you're not from here, you have to prove yourself every time. Do you feel that pressure in your music, or do you use music to escape it?

A. Vicoka: Both. I feel the pressure and I pour it into the music, which is also how I escape it. When I am in the studio and I am recording, I am not thinking about who doubts me or who does not know my name yet. I am thinking about the truth I am trying to say. But that truth is shaped by the pressure. "Peace" exists because I needed peace. I was not writing from a place of having arrived I was writing from a place of still fighting. Still searching. That is what makes the music honest. I am not performing emotions. I am processing them in real time and letting people watch.

A. Obedo PF: Zero pressure though but if there’s one, i use it as fuel. I don’t run from it. That pressure is what gives my sound that edge.

Q. The irony is that some of your most Lagos-sounding music is still deeply rooted in where you're from. How do you hold both things at once without losing one of them?

A. Vicoka: I think the mistake people make is treating those two things as opposites. Lagos and Port Harcourt are not in competition inside me. Lagos is the stage. Port Harcourt is the script. The hustle, the production quality, the ambition that is Lagos energy. But the stories, the emotions, the specific way I describe my mother's walk or the specific grief of losing a father young that is Port Harcourt. That is Rivers State. That is the East. You cannot fake that specificity. And I think that specificity is exactly what makes the music cut through, because in a Lagos market full of music that sounds like everything, something that sounds like a real place and a real person stands out.

A. Obedo PF: Because I never forget where I came from. Lagos is part of my inspiration , but it didn’t change my identity. I carry the East everywhere I go.

Q. Obedo, you've got songs like "Road" and "Focus" that speak to the grind. Vicoka, "Peace" and "Spirit" feel like you're searching for something beyond survival. Are you two actually telling the same story in different keys?

A. Vicoka: I think so. The destination might be different but the road is the same. Spirit was me in darkness, trying to find God. "Peace" is me still in the fight, but fighting with more awareness now knowing what I am fighting for. Survival is where you start. But at some point survival is not enough anymore. You want to live. You want to feel still. You want to wake up in the morning and not immediately feel the weight of everything pressing down on you. That is what "Peace" is about. It is not a victory song. It is a battle cry for something quieter. I think any artist who has been through real things eventually gets to that point where you stop just asking God to help you survive and start asking Him to help you be okay.

A. Obedo PF: Yeah, it’s all one story growth. From survival to purpose. I’m documenting every phase.

Q. You've both worked with Wizard Chan. What does collaboration mean to you? is it community, or is it strategy?

A. Vicoka: Community first. Always. Wizard Chan is not just a feature on a song he is someone I genuinely respect as an artist and a person. When I called him for "Spirit" it was not because I calculated that his audience would add to my streams. It was because his energy matched what that song needed. He understood the weight of it. And I think people hear that they hear when a collaboration is genuine versus when it is transactional. The best collaborations feel like conversations. Like two people finishing each other's sentences. That is what "Spirit" felt like with him. You can hear it in the record.

A. Obedo PF: It’s both. Community first though. You need people that understand your energy. Strategy comes after.

Q. What does success look like from where you're standing right now; not five years from now, right now?

A. Vicoka: Right now? Success is waking up and knowing I made something honest yesterday. It is my mother hearing my music on the radio and feeling proud. It is a kid in Port Harcourt who has never left his street hearing "Port Harcourt" and thinkingsomeone said exactly what I feel. That is success right now. The streams are growing, the listeners are coming, and I am grateful for all of it. But the thing that tells me I am doing it right is not the numbers. It is the messages. It is the person who says this song helped me get through losing my dad. When that happensthat is the whole point. That is everything.

A. Obedo PF: Growth. Real fans. People connecting to my music. That’s success to me right now.

Q. What do you want someone from Enugu, Owerri, Onitsha; another Eastern kid who hasn't left yet, to take from your music?

A. Vicoka: I want them to know that their story is worth telling. Exactly as it is. Not cleaned up. Not Lagos-ified. Not made smaller so that people outside will be more comfortable with it. The specificity of where you are from the way your street smells, the way your mother calls your name, the way poverty looks in your specific neighbourhood that is not a weakness in your art. That is the power. "Port Harcourt" did not go viral because I made it universal. It went viral because I made it specific. And in that specific truth, millions of people found themselves. You are not too local. You are not too Eastern. You are enough. Start from where you are. Tell the truth about it. The world will find you.

A. Obedo PF: Hope. That it’s possible. That where you’re from doesn’t limit you.

Q. Last one. If Lagos is the destination, what's the Eastern in you that you refuse to leave behind?

A. Vicoka: My mother's walk.

I will never leave that behind. That image her on foot, early in the morning, Borokiri to Trans-Amadi, no complaint, no self-pity, just movement that is the Eastern in me. That is the value system. You do not wait for conditions to be perfect. You do not wait for someone to open a door for you. You walk. You show up. You do the thing because the people who love you deserve the result of you doing the thing. Lagos can have my ambition. Lagos can have my work ethic. But that specific understanding of sacrifice of what it means to keep going not for yourself but for the people who walked so you could run that is Port Harcourt. That is the East. And I am carrying it everywhere I go.

A. Obedo PF: The Igbo blood in me My hunger. My resilience. And the way I see lifer aw, real, and unfiltered. That can never leave me.

 

From The Studio To The Spotlight With Anabel Rose

Issue 7.0   Mar. 2026

Interview Conducted by Kolade Motirolaoluwa

Designed by Chiagozie Mbuba

Q. Can we get an insight into who Anabel Rose is?

A.  My name is Anabel Rose, and I'm half Filipino and half Ghanaian. I categorize myself as an alternative pop artist because I love experimenting with the genres I grew up with—I don't like being boxed in. My music focuses on emotions and vulnerability, especially my own. I grew up in Ghana and have only been to the Philippines a few times.

Q. You are what a lot of people would call a young prodigy as you started singing at the age of 8. What would you say led you into the creative space?

A. I started singing at 8 because, as someone with Filipino roots, singing is just in our blood. I loved Celine Dion and all the classics as a child. I was already enrolled in guitar classes at a young age too. Although I was performing, I didn't really see myself heading into the creative space until I became an adult. My first dream was actually becoming a scientist.

Q. As an artist of two nationalities, do you think your growing up as a part of two cultures influenced your craft?

A. It definitely has. Growing up with two cultures in my house gave me an early appreciation for both, and that translated into me fusing a lot of different influences into my music. It also helped add depth to what I create.

Q. As an Alternative Pop Artist,what influenced your style of music?

A. I'd say it's just the music I grew up with and trying to stay true to all the things that shaped me. After coming back from school abroad, Afrobeats would have been an easy route to take, but it wouldn't have been me staying true to myself. I love experimenting with my music.

Q. You are set to release a new song titled “Imperfect Daughters”. The title of this song speaks volume,so would you like to share with us the inspiration behind this title?

A. I grew up with music always being in my life and with really supportive parents. But I was chasing the dream of being a scientist because of societal pressure—I needed to make people proud of me. I ended up figuring out that science wasn't for me, although I still pursued computer science. At that point, I had to make a choice between what I felt people wanted and what I actually wanted. The greatest battle I faced was an internal one between myself and my younger self. That's basically where the title came from.

Q. Your style of music as you have always said is to tell a story which I believe was done perfectly on this song. How did the inspiration for this song come about?

A. I wrote this song early last year. My producer sent me a guitar loop, and I immediately recorded a freestyle to it. I think that's what gave it such raw emotion, coupled with the fact that I was in a really volatile space after quitting my 9-to-5. I had so many emotions, and music was simply my only escape. That's where the song came from.

Q. Pieces of Artists are often found in their songs, the melody and the lyrics. Are there pieces of you in “Imperfect Daughters"?

A. Yes, "Imperfect Daughter" is more than just a piece of me, it's literally me opening myself up to people in a completely vulnerable state.

Q. The emotions on “Imperfect Daughters” was raw and heartfelt,even if I say so myself. After writing the song,how was your post recording phase? Were you extremely picky with the beats and all of that? And how did you come up with the finished masterpiece?

A. It was a pretty straightforward process. After the guitar loop was sent, we went to the studio, and I told the producer what I wanted and how I wanted it. So it wasn't really hard to bring my vision to life. From the demo to the final masterpiece was a lot of work, and I'm really excited to see how people receive it.

Q. To all the daughters out there who think they are not enough or think they are a disappointment but are looking forward to listening to Imperfect Daughters,do you have any words for them?

A. Yes, I'm already getting some traction from the snippet. What I would say to anyone is: always put yourself first and listen to that voice inside of you. Even if your dreams feel scary or like they're too much, just keep going.

Q. The cover art and rollout for “Imperfect Daughters” has been impeccable so far. How did you come about the idea for the cover art?

A. I knew the song needed to lean heavy on nostalgia since I'm telling my story. I usually like to do random things for my cover art, but this song felt so raw that I knew I needed to use an old picture of me. The cover is an old photo of my mother and I, and I think it really drives that nostalgic feeling. There's also brown paper in the design, which reminded me of childhood.

Q. Being an artist is hard. However being an indie artist is even harder. How do you cope with the everyday struggles and pressure of being an artist?

A. I think my team grounds me because I'm an overthinker who's always spiraling about the voices in my head. But I'm also the only one who truly knows myself and my journey, which is quite easy to forget. So I always remind myself who I am, and I'm always learning.

Q. You are an artist with an impeccable discography,an amazing talent but has there ever been times when you felt like giving up and how did you handle it?

A. Yes, I've definitely had those moments for different reasons. As an artist, you're playing a long game where the results might not show immediately. Quitting my job and other random thoughts get into my head. Although I don't necessarily think about giving up, I do wonder how to be smarter about my journey.

Q. Writing Imperfect Daughters, what was the hardest emotion to translate into this song?

A. The hardest emotion was acceptance. I don't think anyone ever gets a warning before becoming an adult—we're just plunged into it. So writing this song took me through a lot, but it eventually brought me to a point of acceptance and made me see it as a moment of triumph.

Getting out of my head to write. Most times in studio sessions, even when I have ideas, I often keep quiet. But I'm trying to get out of my head about that.

Q. If this song was a movie scene, what would it look like?

A. For "Imperfect Daughter," I've imagined it in coming-of-age movies—in those scenes where everything is going wrong, and then the song plays and the female lead gets that kick to pull her life together and be where she wants to be.

Q. What should your Fans and lovers be expecting from you in the future?

A. "Imperfect Daughter" is leading up to my second EP, which is coming out in the middle of the year, and I'm really excited about it. I'm also working towards my own show at the end of the year.

 LEON REMNANT: REDEMPTION, RESILIENCE AND THE RETURN HOME

 

Music And Moments With Leon Remnant

Issue 14.0 Jan. 2026

Interview Conducted by Ayo Fabiyi
Designed by Chiagozie Mbuba Tochukwu

Leon Remnant is back. Fifteen years away from home, navigating the music scene in the United States, and countless lessons learned, he returns with a sound that is raw, inspirational, and unmistakably his. From soccer fields in Ondo State to studios across continents, Leon opens up about his journey, his struggles, and his highly anticipated EP, Redemption.

Let us start from the beginning. Who was Leon Remnant before the music, away from the fame and the stage? 

Leon: I am a sports fan. I used to play soccer from high school through college in Nigeria. I represented Ondo State and also played for my college team. Initially, I wanted to become a soccer player, but life changed and music took over.

When did music stop being fun and start becoming your purpose?

Leon: My music journey started when Ruggedman and Eedris Abdulkareem were dominating the rap scene. I gained interest from listening to them and mimicking their songs. When I got to Adeyemi College of Education in Ondo State, I formed a group called J'slogs with another artist, just the two of us. But we were part of a larger community of artists who all stuck together and collaborated. There was West Tribe with 2 artists, Top Cloud with 2 artists as well, and we all worked closely together. That's when music really became more than just a hobby for me. 

In an industry where standing out requires strategy, what early decision shifted your career?

Leon: I had to learn the process because I did not want to follow trends. I wanted to create a sound that people would immediately recognize as mine. I started as a secular artist, but over time, I gravitated toward inspirational music. I do not make songs for clubs or trends. I make music based on how I feel, and my fans love that authenticity.

Your album Faith Over Fear resonated deeply. Was the title personal to you? Did you doubt yourself during the process?

Leon: Faith Over Fear was my first project and it came during the pandemic. Everyone was locked down, and I saw it as an opportunity to focus. Living in the United States, the hustle is constant, so I could not be a full-time artist yet. During lockdown, I locked in. Most of the project was done on Zoom with producers and engineers in Nigeria.

After that release, I took a break from putting out music to work on my sound and myself. Now, I feel ready to come back.

You have worked with Mike Abdul, Naomi Mac and the Rooftop MCs. Which collaboration challenged you the most creatively?

Leon:

My first collaboration was with Rooftop MCs and Sokleva, which pushed me because they were heavyweight rappers. It made me step up my game.

Mike Abdul was also challenging because he is very selective. My team reached out to him, he sent me his draft verses unmixed after listening to my previous records. I recorded my two verses  and sent it to the engineer first. He listened, liked it, and added his own. That collaboration built a bond. Infact his engineer eventually ended up been the engineer that mixed and mastered my whole album Faith over Fear. He also produced Like you, we move and fall on me off the album. I just sent my verse, and they added theirs. The engineer's name is Tyanx. He scores most of the top movies in Nigeria right now. He’s worked with big names like Funke Akindele and Femi Adebayo, creating the soundtracks for their films. He's scored some of the most popular movies in cinemas; films like Lisabi, Seven Doors, Gangs of Lagos, Jagun Jagun, and Battle on Buka Street, just to name a few. 

If someone is hearing your music for the first time, what track should they start with?

Leon: Pressure, my last single with Sossick. That song is very personal. Back when Dagrin released the CEO album with Sossick, it inspired me. I always wanted to work with Sossick. Last year, I shared my vision with him about creating an album together, and we decided to release Pressure first. People loved it, and I recommend it because it represents both the journey and what I aim to achieve musically.

Your upcoming EP is ready. How would you describe the story, themes and vibe to someone who has not heard it?

Leon: People say I have changed my style, and that is because I can rap gospel in a way that surprises you. You might think it is secular until you listen closely.

The EP has a street gospel vibe. People keep asking if I am a secular or gospel artist, All I will say is enjoy the ART. I’m an artist and I’m also a believer of Faith in a Christ. I could speak about my journey of faith in a song and next songs could be about my life experiences with is totally not related to my faiths or beliefs. I make musics based on my emotions and feelings. I called it pure arts. I let everything out when I hear the instrumental.

Redemption is about showing people the real me, sharing my story and growth, and giving listeners a chance to experience my evolution.

You are building your career in the United States, but Nigeria is still home. Are there plans to return? 

Leon: Yes. I was in Nigeria last year after being away for eleven years. I have lived in the United States for fifteen years. I plan to return next year for media runs and to promote my EP and album. 

What would that homecoming look like? Shows, collaborations or something bigger?

Leon: I am planning a big project with Sossick. We intend to create fifteen to twenty songs, and once they are ready, we will decide which artists fit best to contribute. I want to launch the album in Nigeria with a concert because it is a comeback, and I want people to connect with my music. 

You talk a lot about inspiring youth. Can you describe a moment when you realized your music was making an impact? 

Leon: In the United States, I first tried to sound like the mainstream artists, but I realized that being true to myself worked better. My style is inspirational, and it started resonating with listeners who appreciate authenticity. People might judge me by appearance at first, but once they hear the music, they understand the message.

What has been your toughest moment in this journey? 

Leon: One of my biggest struggles has been working with people who promised to help push my projects forward but didn't deliver on those promises. The work they put in wasn't up to the standard we'd agreed upon, and it didn't meet my expectations. It was really discouraging, and there were moments I felt like giving up. But encouragement from the right people kept me going. Then I connected with Solid Guy Magazine, and I knew I was finally in safe hands with people who genuinely cared and followed through. 

When things do not go as planned, how do you reset mentally and spiritually? 

Leon: I have had records that did not perform as I expected. Even the song with Mike Abdul had strong media runs, but being away from Nigeria affected the impact because I could not perform or promote.

Now, my focus is on building an organic fanbase, even if it is only one hundred people. I want people who truly understand and connect with my music, not just numbers or charts. 

Who is on your dream collaboration list? 

Leon: In gospel, Lecrae.

Outside of that, J Cole and Kanye West.

In Nigeria, Brymo, Asa, Bnxn and Vector.

If you could give your younger self one piece of advice, what would it be?

Leon: Work harder and be consistent.

Away from the music and persona, who is Leon Remnant when no one is watching?

Leon: I am family oriented and a sports lover. I am someone who values personal growth and staying true to myself.

Before we wrap up, what can fans expect from you in this new chapter?

Leon: Fans should expect authenticity, growth and evolution. This chapter is about reconnecting with my roots, sharing my journey, and making music that resonates deeply. Every song I release will have purpose, and I want to build a community that understands and feels my story. It is not about hype or charts, but about making a lasting impact and showing the real Leon Remnant.

 

After sharing his journey, challenges, and vision, Leon Remnant leaves no doubt: this is just the beginning. Redemption is more than music.. it  is his story, his growth, and his invitation for listeners to experience him fully. Remember to Stay Solid!

Ayo Fabiyi for Solid Guy Magazine.

 “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!