Stories from “catharsis“

When I started working on “W for Wetego” in January 2025, it was my second session with Black Culture (credited producer). For

some reason, I left the space at the beginning of the song, and I started singing “Wetego” somewhere in the middle. I was just

jamming that and really feeling it. After that, I went to my village, Nwangele in Imo state, in January. I was excited about being

in the village. I wanted to have done a song with Phyno the next time I came back to the village, and that’s what I set out to do.

As soon as I made ‘Wetego,’ I was excited to send it to Phyno. The moment I sent him the record, Phyno told me to pull up. One

hour later, I was at his place, and we had recorded that. I was still trying to figure out what to do with the space I mentioned

in the beginning, then I had a session with Young Jonn. We were supposed to work on some other stuff, but as soon as I played him

“Wetego,” he was like, “This is the one that I have to be on.” That's how we just recorded on the space at the beginning. The

final version of the song was wrapped up just three days before the song came out. I wasn’t even sure it was going to make it out

because I was going back and forth with the producers, trying to figure out the log drums.

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.

Obviously, a big shoutout to Captain BNXN; he’s such a great guy, and he loves me so much. He goes out of his way for me, and I

respect him so much. At that time, “alone” was BNXN’s favourite song. He was always posting the song on Snapchat and listening to

it. I would always appreciate him for posting the song. One day, I just summoned the courage and told myself I’d ask him to jump

on the remix with me. I just wanted to try. So, I told him, “This looks like your favourite song because you always post this

song, Baba mi. Could you please help me with a verse on the remix? It would really go a long way for me.” He didn’t respond

initially, but I charged it to the game because I always like to try things, even if they don’t work out. I just gave it a shot.

So, I already thought it wouldn’t happen, but three days after, he responded and told me, “Bad boy, send me the verse, let me give

it a try.” I got the verse back in less than 24 hours. It was mind-blowing. I didn’t believe it, but we went from there.

SB produced “alone.” The song was sampled from Wande Coal’s “Again,” so SB and Melvitto are co-producers. I didn’t know I was

making a song like that when I was writing “alone.” I never knew it would be my song because I got a call from a friend of mine,

Nelly Baradi, who sings. She was having a creative block, and she’s someone I always help out because we make music together all

of the time. It’s normal to have creative blocks, so she called me that day to help her put something together on the beat. I

didn’t answer initially because I had a lot of things going on, but she knew I was going to help her out. This time was different

because I didn’t attend to her request promptly. It took me about three days because I was just feeling so reluctant. She kept

disturbing me, so on the third day, I decided to get it done. I locked in and I wrote out the first one minute. It was sounding

really great, and I told myself I wasn’t sending it back to her. I recorded it myself and put it out on socials, and everybody

went crazy. I have to give a big shoutout to BhadBoi Oml; he and I were already planning to make something together. He’s someone

I really like because he sings so well. I really fuck with him, so I’d been in his DM. I told him I really like what he does and

I’d love to make something with him someday. He responded and said, “Why not my G?” So, we already planned on making the song, but

we didn’t have a direction. All we knew was that we were going to link up and make something. I posted “alone” after this

conversation, and he really liked it. So, he sent it to me and told me that he thinks this is the one we should work on together.

We went into the studio, made it, and it became a whole track. We dropped it, and it just went crazy.

I have such a great memory attached to this song. I was in London at the time, around April 2025. So, I got a call from Big Wiz’s

camp to come to the studio. I linked up with Big Wiz at the studio and we made the song. There are several songs you make that

don’t come out, so I thought “One Condition” would be another song that doesn’t get released because, to me, I didn’t really do

anything on the song. Many people ask me how I came up with the verse, but I simply tell them that it just came to me. I spent

about 30 or 40 minutes on that song. It was just so sudden for me. Wizkid told me to go and do something, and I just walked into

the booth and started singing. I initially thought the verse was not so hard, but when we put it out, everything went crazy. After

recording, I went back home and got a text about two or three days later that the song was going to come out. I thought it was a

joke. I have a video on my phone of my reaction to the news. I was so happy and just started running around. Just getting that

text saying, “Yo Fola, Big Wiz just cleared the song, we’re going to drop it,” was crazy. It wouldn’t have been such a big deal if

you were expecting the song to be talked about or if you were expecting the song to be put out. I just did my verse and went, so

getting that text that it was coming out was really mind-blowing. It was huge for me.

I just had a session with Shorae (singer & songwriter) at KTIZO’s studio in Lagos. Shorae and I usually have random sessions from

time to time. He’s someone I love to write with. He’s really big in the Afrobeats writing space, although we don’t acknowledge

writers that much, but he’s at the top of the game. I love writing with Shorae because when we write, it’s very collaborative. He

does melodies, I put lyrics. “Oshaprapra” came from one of those days where we’re just vibing and DJ Notorious [one half of

KTIZO]–that’s the name of the producer who made the beat, and I was in love with the chords. I was like, “I need to try

something,” and we just started working on it. We decided on the theme of the song together. When we started writing it, I had an

idea of what I wanted it to be about, and we did the schemes together. I asked him what “Oshaprapra” meant, and he said it means

shiny skin. So, I just decided to follow that theme of being through hellfire and still having a shiny skin. It was a metaphor for

the song. Funny thing is that at the end of the session, I told the producer to scrap everything that we did because I liked the

beat, and I didn’t think what we had done was enough to complement the beat. He just said okay, but he didn’t scrap it. The next

day, he sent it to me and told me it was crazy. I told him I’d listen to it. I was supposed to travel to London at the time, so

I listened to the song on the flight to London, and I was like, “Okay, this is something.” When I got to London, I played it for

the team, and everyone liked it because it tapped into the energy that everyone was feeling. I started liking it as well, and I

loved it at the end of the day. I recently saw a tweet I made in 2023 where I said, “Intro: Oshaprapra,” and I didn’t even have

the idea for Stubborn at the time.

We made “History” in KTIZO’s studio (Lagos). I just went to the studio with my guys that night. This was in 2023. I was just

vibing with Hoodini [one half of KTIZO]. He played the beat, but I didn’t like the chords on it. We restructured the whole thing,

and I was trying line for line. I wasn’t really in the mood to make a song, but the more I tried to make that record, the more my

mood was elevating, and I just kept on making progress writing the song. Eventually, I ended up with “History.” Honestly, it was

the first time I was very detailed with experiences I valued so much and experiences that gave me life lessons at the end of the

day. As a writer, that was a very proud moment for me because, for the longest, that was something I was looking forward to

achieving as opposed to writing on a surface level. With a song like “Kolomental,” it’s a very heartfelt song, but it’s not

specific. For me, “History” opened up the door for stuff like that because from there I was able to do “Jaga Jaga” and the likes.

I was able to tap into that world of precise writing.

Sometime in 2023, I had sessions with P2J where we made “Ludo,” “Anita,” and some other records. Those were just fun times in

London, where I would just go into the studio and I’d be up all night with P2J. We’d make like five complete songs in one night.

We were just on that high, and we were just creating. So, “Ludo” is one of the songs that we birthed from those sessions. At the

time, we didn’t have Shallipopi on it, I never even thought that Shallipopi was going to be on that record, but we knew it was a

very strong record. When we were putting the album together, it kept on making whatever list we were putting together. So, we knew

it was going to be on it. Hoodini (record producer) helps me with the creative process for my songs, and he was like the song

gives him a vibe where we can have a rapper on. If you think of it in a Western world, it’s a Kanye record. That’s how he

described it to me, and when he gave that reference, I could see the vision. We thought about Shallipopi because his voice is just

unique. I reached out to him, and we just made it happen.

“Anita” is one of the songs from P2J’s (the producer) sessions. It was just another fun night in London. We were just creating and

had guys around vibing. There’s nothing too crazy with the story because it was just a fun record.

“Everything” was made in 2022. I loved the “Sunflower’’ song (by Post Malone and Swae Lee) a lot. I wanted to do something similar

to that. When I make songs with Blaze (the producer), sometimes we start from scratch. That’s how we made “Kolomental.” I just

play him certain chord progressions, and I tell him what direction I want to go towards. We didn’t have an idea of what we were

going to make that day, but we started playing the chords and building from there. We made the song, but we didn’t have the sample

on. When I got to London, I told Hoodini (additional producer) that we could have the sample on because the song didn’t have a

second verse. Hoodini and I just chopped it off. At the time, we were just doing it for fun because we didn’t know that we could

eventually clear the sample. At the time, “Sunflower” had just gone 11 times Platinum, so it was a big deal, but at the end of the

day, we did it, and I think it just had to do with believing.

“Risk” is a crazy record. It has a similar story to “Oshaprapra,” to be honest, because when I made the song, I didn’t have the

full idea for the song. I just had the pre-hook. This was in Los Angeles during a session with P Priime (producer). It was one of

those moments where I didn’t want to be idle, I wanted to exercise my brain and do something creative. I just did a freestyle on

the beat. It wasn’t complete. I have a friend named Boat who does all of my graphics and creative direction. He did the 2D stuff

you see on “Jaga Jaga” and the Outlaw EP. He reached out to me and told me “Risk” had to make the project. I think that’s where we

started having the issue of whether it was going to be an EP or an album. At first, it was supposed to be an EP, but I just kept

getting suggestions from people that certain songs had to be on there. I told Boat that I was going to try to finish the record,

but I couldn’t guarantee that it was going to make the project. I had the full idea about a full month after I had laid the

original idea. I went to the studio, finished it, and thought that it was a very strong one.

The idea for “Tiny Apartment” was completely SAINt JHN’s idea. He did a freestyle on the beat, but on his very first freestyle, he

sang the lyrics, “In my tiny apartment.” To be honest, SAINt JHN pretty much freestyle everything that he did on the song. 90% of

everything he did was on the first take. I feel like he’s the most talented person I’ve seen with my two eyes, which is very

inspiring. After his freestyle, we started discussing the concept of the song, and he was talking about how New York apartments

are really small. I wanted to paint that same picture, but in a Naija setting. I think SAINt JHN describing what he was feeling at

the time allowed me to be inspired and tap into that experience as a Naija boy and come up with very specific lyrics for that

feeling.

I’ve wanted to work with Teezo [Touchdown] for a while after listening to his album. When the session happened, we were just going

through beats. When the beat for “Slow Down” came on, I did a freestyle to it. Just the toplines of melodies. After I was done,

Teezo and I went through it together, and he picked a specific part of the melody and started writing to that. We also did the

hook, he wrote his verses, and that was it.

Writing “Stubborn” gave me a whole new identity. It gave me something I didn’t know I had with me. The producers, 1MIND also made

“Unforgettable” by Swae Lee and French Montana. They have quite a stacked catalogue, and they’re very good friends of mine outside

of production. A session with them is good energy, and that evening, I was just myself in the studio. I wasn’t overly prepared to

make a record; I just wanted to have fun, so when the beat for “Stubborn” came on, I was feeling it, and I wasn’t thinking of

doing something perfect. Ironically, it came out as a moody song, but in that moment, it was a blend of me having fun and

reminiscing on my life. It was an “I’m him” moment. I was going through moments when it wasn’t too smooth, but I overcame, and I’m

now in L.A., giving myself praises and stuff like that. Just because it was so many emotions at once, I felt like, “Damn, this is

an exceptional record.” The fact that I was able to blend the fun, moody, and autobiographical elements gave me a new feeling,

brand, and identity in my head. It was straight, almost like one takes, because with “Stubborn,” I recorded it like one long

verse. The first and third verses of the song were recorded together as one long verse. I was really in my bag. After I made the

song, we just agreed that “Stubborn” would bang with a feature because it’s such a new sound. We felt that it would be more

incisive if we had somebody else to come explore something, and Asake came to mind. I reached out on Instagram, and he told me to

send it. When he came into Lagos, he came to my studio, and we just did it together.

I made “Kolo (Kolomental II)” right after I made “Stubborn,” and that was within minutes. Off that “Stubborn” high, they played

another beat, and I just told them to keep the mic on, and it just kept on going. If you listen to both songs, you’ll notice that

there’s a similar energy. If you listen to the verses on “Kolo,” it goes like, “Who thinks they’re crazy enough to challenge me?”

It was coming off that “I Stubborn” energy, and I knew that both songs are crazy and have to be on whatever I am putting out next.

After recording sessions in L.A., I went back to Lagos, and I was still on that “Stubborn” energy, and that’s why I decided to

name my next project Stubborn. I started making new types of songs and having a different approach to my songs. I had a session

with 255 [a German production group], they’re very good friends of mine, and I made the song. It was just coming off that

“Stubborn” energy, to be honest. I feel like “Stubborn” gave me a whole new vibe that I just kept on exploring at the time. That’s

one of the first sessions I had once I came back from L.A. at the time.

I made “Pier 46” in L.A. before I came back to Nigeria. I think it was two days before the “Stubborn” session. Hoodini (producer)

was in L.A. with me, and we were preparing to go for another session, and we just decided to try something. He was in the

apartment, and he played the beat. I had played him one song in the past, and I was like, “This is such a coincidence,” because it

was a Spanish song, and I was feeling the attitude in the song, and I wanted to explore something like that. The beat Hoodini

played for me was very similar, and it was such a crazy coincidence because it’s a mood I’ve been wanting to tap into for a while.

We just stayed back and worked on it before the session. It took quite a while because I wanted to perfect the attitude, because

it’s something I’ve been wanting to tap into.

“Sunday School” was with P2J (producer). It was made late in 2023, shortly before I travelled for Davido’s A.W.A.Y Fest in

Atlanta. The night before the trip, which was scheduled for 7 a.m., I was having a session with P2J till like 4 a.m. We were just

vibing and recording, and “Sunday School” was all we were working on. That’s a fan’s favourite on the album.

I made “Street Affair” in L.A. That was one of the first songs that I made in L.A. It was made shortly after I landed in L.A. When

I made Street Affair,” it was just me reminiscing on recent happenings in my life and personal stuff that I just put on there.

Hoodini had sent me the beat, and I had had it for a while. So, it was one of those sessions where I just get an engineer and just

lock in to reflect on how I’m feeling and put it into the music.

In 2021, Dapper set up a session with me & Tempoe. It was a camp for an artist called Savage. We made a couple of records that

included “Rosemary,” “Soweto,” and some other songs that never saw the light. At the time, I loved “Rosemary” more and Tempoe used

to tell me that “Soweto” is crazy, but I couldn’t see it. At the end of the day, we gave Savage “Rosemary,” and Tempoe was going

to take “Soweto.” It was supposed to be Tempoe featuring Victony, but people on my team just loved the record and they told me

that the song was crazy. I spoke to Tempoe at the time, and he was like, “Yo, that’s my song, I can’t give it to you.” This was

post-“Holy Father,” and I wanted that to be my follow-up single, and he told me he can’t give me the record. So, we fought, and we

just stopped talking for a while. When I was putting the Outlaw EP together, I was telling my friend, AV, about the plans, and AV

goes, “What about that ‘Soweto’ record? That has to make your EP.” I was like, “Yeah, the song is dope, but I don’t think Tempoe

and I can ever agree.” We hadn’t spoken in months but AV was like, “Put your pride to the side and ask him for it again because

you’re both sitting on money.” To be honest, at the time, I didn’t really think of the advice as a big deal but I just did it

because AV is someone I trust, he’s a very good friend of mine, and if he tells me something, I’ll listen. That same night, I

reached out to Tempoe and was like, “How are you doing?” Surprisingly, he responded in good spirits and we were able to make it

come to life and I even discussed my EP with him. That’s how the song eventually became released.

Victony, obviously we’re under the same (management). Musa Keys, that’s my man. We have one of my biggest songs together,

Unavailable. You know I’ve been tapping in with South Africa since time, before Amapiano became huge. So Victony and Musa already

had the record so I came as their older brother haha. I was like I love this record. You know me, when it comes to finishing

music, I know how to take it and turn it up a notch. I did my verse, we recorded it in Lagos around May last year (2024).