The way FOLA and I worked on “Despacito” is almost like the way I made “Bizzy Body.” I invited him to my house. Ramoni

(credited producer) started playing chords, and he basically created the hook on the chords. He just sang the whole

thing, and Ramoni and I started working on how the beat would actually be. Then, I recorded my part, and that’s when

FOLA actually heard it. At track five, it felt like I needed to switch things up. We had come with mad energy from the

beginning, so it felt like it was time to soften the vibe a little bit, but it needed to be beautiful and still

energetic. “Despacito” was the right song to transition with. It's a hip-hop song, but it has some amapiano elements. I

feel like it was giving me a version of AKA on soulful songs that just connect in a way, and that’s what introduces

“Nati” with Olamide.

I have to give a big shoutout to Vado. Kizz Daniel is another person who goes out of his way for me. I can’t thank him

enough. “lost” was actually written because people rarely sing about the ups and downs of love. No one talks about when

you’re crying in that corner of your room because that girl is not responding to your text. No one talks about when

you’re feeling down because that guy is acting anyhow. No one really talks about those parts, and that’s what “lost” is

all about. It’s written in homage to the bad sides of love. Having Kizz Daniel on the song changed its dimension. I

wasn’t expecting the delivery to come out that way. He really showed the big OG that he is. There are levels to this

music thing, and Kizz Daniel is just at the top.

“you” wasn’t written based on my perspective or something I was going through. My manager, MelvinTheWave, was in love at

that point. He was so in love, and I was always observing him and his actions. So, I was just copying and pasting his

lifestyle on that song. It’s a love song talking about your girl and how she’s making you feel. “You” was written in

March of 2025, and it was produced by Kel P. Kel P is so great at what he does; he won’t let you sing rubbish. He’s one

of the producers I’ve met who is very deliberate about what he does. A lot of producers don’t care about what you’re

singing as long as you work with them and use their beats. Most people just want to record and go, but Kel P won’t let

you do that; it has to be up to standard. In fact, he won’t let you write your songs alone; he wants to listen before

you record. He’s very interested in what you want to put down. Even if it’s great, he’s still looking for a way to make

it better.