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.