So with this one, I woke up from one of those naps where you’re sweating. You just took an evening nap, and you wake up,

and it seems like a war just happened. I see like seven missed calls on Snapchat, and it’s from Tycoone, who’s David’s

creative director. I hit him back, and he’s like, “Where are you? David wants to see you.” I’m like, “What the fuck?

Alright, bet.” So, I pull up and we go to this place called Shisha Lounge back then. David has this whole entourage, and

there were so many people around him. I think Peruzzi was with him at that time, and this producer called Fresh. I

wanted to sit on the other side because there were so many people, but Davido called me over to sit right beside him. I

was nervous as hell. I was very antisocial at that time. He then told me to start playing music, and I played “outcast,”

then I played “falling,” and he said, “Them go love you for Yankee.” He then asks me to play him stuff I’d not worked

on, and I had the beat for “divine” from Hvrry, the producer. The beat only played for three seconds, and he was like,

“Yeah, this is the one.” That was the first time I’d ever seen someone do that; he hadn’t even heard the beat for long

enough, but he was just like, “Let’s go.” So, we got into the cars and we went to Eko Hotels. He rented out a suite, and

we set up there to work on the song. He kind of added some production stuff; it was the first time I’d seen him work in

person, so it was interesting to see how involved he was in the process. Later on, I found out that he used to produce

music. Working with him was interesting. I feel like if life permits it, and we work on music together again, it would

always be interesting because there’s a certain understanding of production.

It was a seamless process because he (Sarz) is not the kind of producer that tries to get in your face. He wants you as

an artist to do your thing. If anything, it’s almost like he’s just trying to get the best out of the artist by letting

them be themselves and not trying to distract their process with his own ideas. It was really fun. When the EP (LV N

ATTN) dropped, Monalisa (from the EP) just started popping on its own. The song just came from nowhere and started doing

its thing. As that was happening, we were like yeah, a remix would be nice and by the end of last year (2021), we were

already thinking of doing a remix. We basically just sent it out to different people that we had in mind that we would

want on the remix. Chris Brown was one of them because he just floated so effortlessly on Afrobeats and we just felt

like he was one of the people who could take it to a whole new place and still maintain the same essence. There was an

air of uncertainty until that happened and then all of a sudden it was time to go.