Blaqbonez
Initially, “Consistency” was kind of like the intro. And when I made “Everlasting Taker,” it was crazy. The way it
sounded, it was an intro. As soon as you get into a project, it sounds like the right thing to hear first. It had the
first bar and all the affirmations, I felt like, what’s wrong with having two intros? So “Everlasting Taker” and
“Consistency” paired together is one introduction. Making “Everlasting Taker” was straightforward. As soon as the
producer played me the beat, I started writing it right there. We weren’t even in a studio; we were in a room, and he
was just playing me beats. It’s very interesting because Ragee specifically told me that he had something for me on that
album, because I thought I was almost done with it. He was like, “Bro, I have something for you on that album.” He was
the one always saying, “I dey on heat,” and I was like, “Make we hear.” He played that beat, and I immediately started
writing the verse. I recorded it later that evening.
Slide 1 of 9
Blaqbonez, AJ Tracey
This is actually the oldest song recorded on the project. It's the beginning. It was recorded last year (2024). We were
in London, and I had always been a fan of AJ Tracey. I always told my people that I would love to work with him and do a
song. While I was in London, he was open to a session, and we linked up and made “Consistency.”
Slide 1 of 3
Blaqbonez, Pa Salieu
Pa Salieu and I recorded this together. It was an interesting session because as soon as I entered the studio, Felix
Joseph, the producer, already felt like he knew what a Blaqbonez and Pa Salieu song would sound like. As soon as he
played the beat, I was like, “Oh my God, this is crazy!” We were both hyped about it. It didn't even take too long; we
were writing and flowing back to back to back. Before we knew it, the song was done. We have a video for the song that’s
so crazy, and I can’t wait to put that out.
Slide 1 of 5
Blaqbonez
For me, I wanted to be on a new vibe in terms of production and the hip-hop standard. I went on YouTube, and I was
listening to random beats and stuff. It was recorded two months before the album. At this time, I was at a château in
Cognac (also known as the Château Royal de Cogna, a historic monument on the banks of the Charente River, France)
chilling in the backyard by a lake and I was in a chill place. It was just a really cool day going through beats, and I
just found that beat online. I was like, “Oh my God.” I knew that the beat was banging. It was during one of the
Hennessy activations, so after the stress of the day, I decided to still record that night, and that’s how I made the
song in my bedroom. The way I made the song, it wasn't like I wrote a hook or anything; I just started writing, and at
some point in the process, I wanted the beginning to come back again. I didn’t know that part was going to be the hook;
I was just writing. The beat switch at the end was added later on.
Slide 1 of 9
Blaqbonez, Valiant, ...
This was so exciting because it is a Jae5 production and, if you know me, you know I love a Jae5 production. I've never
heard Jae5 produce something like that before. I don't even know what led to what and how we even got there, but it was
exciting to me. It was in London, and it was an exciting session. I recorded this song in July 2025. I was in the
session with my guys, we had smoked, and the vibe was nice. The vibe of working with Jae5 is always chill because his
place is far from town. It's a much calmer part of London. There's an unreleased song that was supposed to be on my
album called “2BTC.” I played Jae5 this song. It’s an interesting dance song. He liked the energy, and he was hyped.
This is what led to “Bizzy Body.” Whenever I work with Jae5, we start with the chords. So, when he made the chords, I
started singing the melodies that started the song. We just built it up from there. When I made the initial demo with
Jae5, I returned to Nigeria to finish the project. I knew that the song was mad, but I knew that it needed a chorus. I
felt my part was a pre-chorus. So, I had a mini camp. I had Shorae, The Kazez, Majesty Lyn, Major AJ, and Deto Black,
and a whole lot of people at the camp, and everybody was just vibing. The Kazez just sang the “I feel it coming, slow
and steady…” part, and I really liked it so much. I was like, “Nah, this shit has to stay here.” It was perfect and
that’s how I left it. And then, because of the sound, I felt like I wanted to put a Jamaican on the song to give it that
raw Jamaican feel because it sounded like them with the beat bounce and everything. I told my label, and they put me on
to Valiant, and that's how Valiant got on the song.
Slide 1 of 15
Blaqbonez, FOLA
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.
Slide 1 of 8
Blaqbonez, Olamide
Olamide had posted this record a while ago, and I was a fan of the record when he posted it. I didn't understand why he
never put out the record. I think I tweeted it in 2024. I was like, “Olamide, I mean, this record is so crazy. Why
didn't you ever put it out? Can you put it out?” We had a conversation about it. He said he was going to drop it. I was
like, “Okay, cool, we’ll be waiting.” Fast forward to two months ago (around August 2025), he texted me, “Hey Blaq, do
you want this record?” I'm like, “What do you mean, do I want this record? Of course, I want this record.” As soon as he
sent it to me, Magicsticks and I started cooking it. We created a new production for it because Niniola had already used
the old beat. At first, it was crazy because I was conflicted on whether the beat sounded as good as the original one.
We just kept going back and forth, working on it. I sent Olamide one version, and he said the vibe was fire and that we
should keep going. We just kept going back and forth via email. It was interesting going back and forth via email
because that was peculiar. There was one time I was sending it to him via Instagram, but he never opened it, but once I
sent an email, he was there to respond. It was an interesting time to create that kind of song.
Slide 1 of 11
Blaqbonez
“Just Hustlin $$$” was recorded in Lagos, in Ikoyi. I had some white producers that I worked with in the past, and they
were in town. I linked them up. I just got back to Nigeria, and whenever I come back to Nigeria after a long period, I'm
very frustrated at the fact that everywhere you turn, somebody's billing you. I was in that phase where I was still so
upset about it. If you go to the airport, everybody's like, “Give me this, give me that.” You drive around the car,
people are gathering, “Give me this, give me that.” If you chat with a babe, she’s trying to bill you. I think that was
the energy that I took into the studio that day. As soon as they played me that beat, it just took me into that thought
process. I just realised that this is something that I would actually love to speak about. It’s a song that means a lot
to me. I already have the music video shot. I recorded this song three months ago.
Slide 1 of 8
Blaqbonez, Mellissa
This is another song that's like a part of the spine of the album. This song and “Consistency,” I think, are the first
two songs on the album. I just love those songs so much. We linked up in Nigeria in March 2024, and we made the two
records that we put out, one for her, one for me. That was our first session ever. That was also my first session with
Black Culture (credited producer). It was just a seamless session. It was easy and a vibe. We were already having a good
time, as soon as Black Culture played the beat, you know, I just started flowing. Melissa came in with the hook,
mumbling the hook, and everything just fell into place so easily. I just always knew that that song was going to be on
the album, no matter what. It just felt different and was giving me Shank’s “Julie,” and I liked that feeling.
Slide 1 of 7
Blaqbonez, LeoStayTr...
The story for this is very funny. That day at Jae5’s studio in February this year, I was so clumsy. I didn't even
understand what was going on that day. I was just knocking over things. At some point, he gave me alcohol. I put it on
his keyboard and somehow I knocked it over, and then the alcohol spilled into the keyboard. Jae5 had to clean it up. He
even had to get people to open the whole grand piano and clean it up properly. At that point, I was like, if I don't
make a song that's banging in this place, this guy might never let me in this studio again because of how chaotic I was.
Then, he had a book on the grand piano that was his daughter's book, and as soon as I opened the book, the first rhyme
was “Mary had a little lamb.” As soon as I opened it, I just said “Mary had a little lamb, Mary had a big bunda,” and
that's how that song started. I have always been linking up with LeoStayTrill whenever I'm in London. We always just
link up and create music. We have done like two or three sessions before that, but this is our first song that's
actually coming out.
Slide 1 of 10
Blaqbonez
I was supposed to work on a Chocolate City album, you know, with producer Blaize Beatz, and it was scheduled for
September 2024. As soon as I started making that record, I was like, “Omo, this record, I'm keeping this one for
myself.” It was like a low-pressure studio session that I didn't think I was working on my album. And then I ended up
releasing one of the most important tracks on the album. Blaise and I have a very great track record. On Emeka Must
Shine, he produced “NYEM EGO.” He always produces very important records for me on my albums, so it was not a surprise
that he did this one too.
Slide 1 of 6
Blaqbonez, Young Jon...
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.
Slide 1 of 11
Blaqbonez
I wrote “California Issues” in California. It has a very peculiar story. The energy of the song is not the story I told.
I started working on the record, and I played a small part of it on my Instagram story. Based on that, there was a girl
in California who was very upset that I'm singing about I'm in California, flying a girl from Ethiopia when she's right
there in California. She was like, “Why am I flying somebody else? And I've not linked her up.” She started threatening
me that she was going to pull up for a fade, and she was going to have me beat up. The shit was just so crazy, and I was
like, “What is going on here?” That's why it's called “California Issues.” She was saying she wouldn’t leave, no matter
what I did. She was ranting on Twitter, and I was like, “I don’t even know this babe like that.” So, that’s how the song
came to be. It’s not really her story, but it inspired what direction the song went towards after that. This was done
pretty early, around April or May 2024. I think it was the third song on the project in terms of how they were created.
Slide 1 of 9
Blaqbonez, KindlyNxs...
I recorded this one in South Africa when I went to do the Hennessy Cypher in June 2025. I just planned a little
listening party over there. The energy at the listening party was so exciting. The South Africans showed me so much
love. There were so many people there and it was so nice. I was like, “I have to have a song with some South Africans on
the album.” The session was the next day. I've been a fan of KindlyNxsh and Brotherkupa, especially not just fans of
their music, but fans of their visuals. I found the guy who shoots their videos and followed him. We all linked up, and
it was an organic session because I liked their visuals, and they liked me already. The session was very smooth, and we
made it after my listening party. With WAVE$TAR, while I was working on a project, I told myself I had to put someone
who represents who's next in the Nigerian hip-hop space. I felt like I couldn't consider myself an OG if I didn't say,
“This is the next guy.” I feel like this album is my introduction to being an OG. I was excited that WAVe$TAR was
excited to be on the project. His verse was the last verse to enter the project; it happened four days before the album
dropped. I’d been talking to him about it, but we had not figured out if he was going to be on the song. I initially
wanted to transition the beat into something else, but he just recorded on the actual beat, and it was fire.
Slide 1 of 12
Blaqbonez, Ayo Maff,...
When I made “Louder,” I was trying to shoot videos with Olu the Wave. I liked how his visuals were looking, and I just
made ‘Louder’ for my “Of Many Colours” project in 2024. He was working with Ayo Maff a lot, and he kept on saying, "Omo,
this is Ayo Maff's lane." I was like, "Okay, send this to Ayo Maff and let’s see" Then Ayo Maff sent the verse, and it
was so crazy. I was like, “Oh shit, this is his lane for real.” Maybe a week or two before I would release the song, I
was on a flight with Bella Shmurda, and he was sitting right beside me. Sometimes, I think these things happen for a
reason because there had to be a reason for why we were seated together. As soon as we got to Lagos, I was like, “Bro,
let's link up in the studio,” and that's how I added Bella Shmurda to that record. While I was getting to the finishing
point of this record, it was this one versus “Follow Her” to complete the pre-release singles, but I just felt like the
message on “Louder” was more profound. It felt like the better lead-up to start the actual outro. It felt like the right
song to put instead of “Follow Her” and that’s how it made it to the project.
Slide 1 of 10
Blaqbonez, Barry Jha...
Over the course of my albums, I have always put songs about hustling and money. I just added the Dollar sign, I don’t
know why I always do it. Till today, when I’m naming the songs, I just do it. This is music that gets you to go out
there and make money. I recorded this two months before the album in August (2025). When I made the song, I just felt
like I needed somebody to usher the album out. I wanted someone to do something at the end that’s just different from
Blaqbonez. After thinking about it, I knew that it was Barry Jhay because of his lyricism and vocals. It just felt like
it was the right choice. We made two records. One that’s more like a big record, and it had an amapiano feel, but
“Stacks $$$” was the one I wanted because I felt like it was deep, and it felt like a special record.
Slide 1 of 7
I made the first version in June (2026) in my friend’s studio in Lagos. The studio didn’t have air conditioning. It was
so hot in there that we had to take off our T-shirts while recording. Maybe that heat contributed to making it a hit
haha. I didn’t send the song to Asake until August. We were on the phone one day, talking about how crazy our collab
“Chanel” was going and we had a light bulb moment about how crazy it would be to do it again. We both felt we could
create another magic, but we wanted to make the next record bigger and take it in a different direction. “Ikebe 3000”
was going to be more of a party record, something more dancey. So I sent him the song, and he loved it. He was in LA at
the time, just after one of his shows. I woke up to him calling me and playing the verse he’d just recorded in the
studio. I was shocked. I’m thinking; he’s on tour right now! How did he finish a show yesterday and still managed to
record this verse today? The whole thing happened in less than 24 hours after I sent him the song. Just like we did with
“Chanel,” we kept “Ikebe 3000” under wraps until release. After making the song, we planned the music video and flew to
London to shoot it. Honestly, when I started making the earlier version, I’m not sure we knew just how crazy the song
would turn out to become. We were simply locked in the studio, trying to create something different when we stumbled on
the Gqom (South Africa) sound and we put our spin to it. One thing I find interesting is that “Ikebe 3000” is actually
Asake’s favourite collaboration out of all the songs we’ve made together.
Slide 1 of 14
I made the first version in June (2026) in my friend’s studio in Lagos. The studio didn’t have air conditioning. It was
so hot in there that we had to take off our T-shirts while recording. Maybe that heat contributed to making it a hit
haha. I didn’t send the song to Asake until August. We were on the phone one day, talking about how crazy our collab
“Chanel” was going and we had a light bulb moment about how crazy it would be to do it again. We both felt we could
create another magic, but we wanted to make the next record bigger and take it in a different direction. “Ikebe 3000”
was going to be more of a party record, something more dancey. So I sent him the song, and he loved it. He was in LA at
the time, just after one of his shows. I woke up to him calling me and playing the verse he’d just recorded in the
studio. I was shocked. I’m thinking; he’s on tour right now! How did he finish a show yesterday and still managed to
record this verse today? The whole thing happened in less than 24 hours after I sent him the song. Just like we did with
“Chanel,” we kept “Ikebe 3000” under wraps until release. After making the song, we planned the music video and flew to
London to shoot it. Honestly, when I started making the earlier version, I’m not sure we knew just how crazy the song
would turn out to become. We were simply locked in the studio, trying to create something different when we stumbled on
the Gqom (South Africa) sound and we put our spin to it. One thing I find interesting is that “Ikebe 3000” is actually
Asake’s favourite collaboration out of all the songs we’ve made together.
Slide 1 of 14
This was one of my easiest studio sessions ever. I really didn't think I'd made anything spectacular because I make
songs almost everyday. I made it in February 2026 in Lagos. Most of the songs on my new album (NOMADINHO: 4TH PRIME) are
fresh records made this year. So in April, I travelled to London for a show. After the show, instead of doing the usual
after-party at a club, I decided to do something different. One of my cousins, who works at a bar, offered to open it
just for me and my people. I took about 20 people from the show to the underground bar called Doña in Dalston. It was
just us, with no pressure. I started playing unreleased music through the AUX and having a good time. Everybody seemed
to love “Chanel.” People kept asking me to play it again. The next day, I made a video of myself vibing to the song and
posted it online, inspired by the energy from the party. As soon as I posted it, the video went crazy. That was when I
realised the record might be huge. Fans started suggesting different artists who should be on the song. But in my mind,
I knew it was big boy music and the ultimate big boy for that sound was Mr. Money, Asake. Of course, he has been my guy
for a long time. We'd been talking about collaborating, and I was just waiting for the right song to send him. So I sent
it to him through his DMs. Thankfully, I made that decision. A few days later, we were both back in Nigeria, set up a
studio session, and recorded together. After that, we flew to London, shot the music video, and the rest is history!
Slide 1 of 13
I was close to Banky W (Wizkid’s former label executive), so I hollered at him. Although I knew Wizkid even before Banky
as one of the young guys that used to come hang out at OJB's (music) studio. Wizkid was already garnering momentum. I
mentioned it to Banky, and he said, “No problem.” Olamide wrote the whole song. All Wizkid had to do was come in. Wizkid
wrote some of his own verse, but the chorus "Girl, I know you look so fine, and I want you to be mine," was written by
Olamide, and Wizkid just re-sang it. Then both of them sat down together to finish Wizkid's verse. For me, I think that
song was filled with emotion. We were already leaving the hip-hop era and trying to carve out this new sound that people
are doing now. All the songs were recorded in (Yaba, Lagos). The video for “Omo To Shan” was shot by DJ TEE. We were
able to afford DJ TEE even if not all the way. By that time, Olamide was already doing shows, we were getting money, and
we were able to save up to shoot with DJ TEE. We shot at three locations: a hospital, where I had a cameo as a doctor;
Ikeja; and a hotel lounge all in Lagos. We came up with the concept from something I'd seen Dr Dre do, but we rebranded
it and did it our own way.
Slide 1 of 11
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.
Slide 1 of 7
“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.
Slide 1 of 9
It’s just a song about life, motivation, and day-to-day activities. Basically, I’m saying after everything you’ve been
through, it’s going. After all the stress and reminiscing on the pain and struggle and quest for sustenance, it’s going.
We can’t give up or stop chasing, so at the end of the day, it’s going. I had the idea for “it’s going” before I even
started the album; it was the first song I conceptualised. I had most of it ready to go. When I was thinking of what the
album was lacking, as we were finishing the album, my mind came back to “it’s going” and I felt like I needed to add it,
so I did. I felt like it was a great way to close the album as well.
Slide 1 of 6
I’m so happy this song made the album because it almost didn’t. The session for this song was great and mind-blowing.
Young Jonn is a big OG, he always answers me whenever I call him. If I ever want him to be in the studio when I’m
working on something, he always pulls up for me and never tells me no. It means a lot to me, and I don’t take it for
granted. “disco” was a record that I had initially made, and Young Jonn just jumped on it. He sent me the verse, and it
was so good.
Slide 1 of 5
The funniest thing about “caricature” is that it’s the first song I recorded on the album; it was made last year. A
caricature means a representation of something, and in this context, it’s a symbol to fill the gap when a lover is not
around. It’s a song about telling your partner that you’ll get a caricature of them because you miss them. So, getting a
caricature of your partner is getting an artwork of them or something you can remember them by when they’re not around.
It’s a representation or imitation of someone you can’t do without. I think “caricature” set the tone for the album.
Slide 1 of 5
We initiated the record from Lagos and finished it in London. The process of making the album was extraordinary.
“robbery” is similar to “lost” in how it explores the unheralded parts of romance. Relationships can be very funny.
“robbery” is talking about how you’re showing love and affection to someone, but they’re not doing the same for you.
Working with Gabzy was magical, and I really enjoyed the process of putting this song together.
Slide 1 of 4
This is the only song that doesn’t have a huge story behind it because I was just recording. I posted a video on my
Instagram account, and Oxlade commented, “Cruise control.” I was in the studio at that moment and listening to a beat.
So, that’s how I entered, and the song started. It wasn’t like I did anything extraordinary, but I did me and I love it
because of how free I felt while making it. It was made just a few weeks before we released ‘catharsis.’
Slide 1 of 4
The idea of this song is to revive you after you’re lost, that’s why the arrangement placed it after “lost.” It was
intentional to place it there. The track explores the idea of love reviving you after feeling lost. It’s a love song as
well, it just explores love from a different direction. This song was based on my own experience, but it was not from
this year; it was made last year.
Slide 1 of 4
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.
Slide 1 of 7
This is such a beautiful love song. The session was mind-blowing, and I really loved it. “golibe” is a way of expressing
love and affection because a popular part of the song, “Ile awada,” means that our home is blessed or fortunate. So, I’m
telling her that she needs to come. It’s just a way of letting her know that she needs to be with me because I really
like her and need her in my life. Victony brought life and emotions to the song. He gave it a new dimension. His verse
is so mind-blowing, and I still can’t get it out of my head because it rings in my head all the time. He went out of his
way for me, and big shout-out to him.
Slide 1 of 6
“eko” is a song about leaving home to feed home. It’s a song about the struggles and hardships of life. It’s a song
about praying to God all the time because you want to be a baller and not a mechanic. It’s just a song asking for god’s
blessings and talking about how hard it is to leave home and make ends meet. I was born and brought up in Ibadan, so I
had to leave home to come to Lagos in a bid to make a living. It’s crazy, hard, and mind-blowing. There’s a part of the
song that references a popular Yoruba proverb that means a Lagos person goes on their way peaceably. I’m saying that I
can’t fight, that’s why I’m just going on my own and taking things easy. I moved to Lagos in 2018, and I’ve had a lot of
experiences.
Slide 1 of 7
“gokada” is a song about always coming through and not missing. People always say I never miss, so I just want to always
deliver and not miss with my music. That was the original idea behind the song; it’s just a song about delivery and not
letting my fans down. People give me different compliments: “he sings so well all the time,” “I like your voice,” and
“he’s so good.” I hear them all the time, so I just added all those sentiments to the song. “gokada” was made around
March or April of 2025 by LOL.
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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.
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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.
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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.
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The way “Escaladizzy” came to life captures my creative process and personal energy. I’m constantly in motion, always
moving forward. A few days before it all came together, I was on the way back from an event with my guys, all of us in
the back of an Escalade, when I got home that day, I heard a beat by 2 Frosh (credited producer) and it stuck with me.
So I started writing what would later become “Escaladizzy” before I even got to Wave$tar’s place. One night, after
Wave$tar’s party, which he invited me to perform at, I opened my Snap and noticed he was around. I texted him and
decided to swing by his house. When I got there, we were originally chilling, but before we knew it, we were recording.
The original plan was to record a Wave$tar song, which we did, but after that, the energy was still there, and I had the
beat that 2 Frosh sent to me looping in my head. Wave$tar’s vibe was different, and I just felt like it would be the
perfect vibe to lead me into the song. The funniest part is that I didn’t even expect this to be the song to blow up
because I have way better songs out. There were no plans to drop it this year—it dropped because of how the audience
received it. That’s how my music happens—that’s how I live my life: organized but open to change, nothing forced.
Everything flows from my music and instincts, so if it feels right, I follow it. No elaborate rituals—just space and a
living vibe.
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Blaqbonez always wanted me to make a song that will go super viral. He’s like; “oh, you need to make a record that will
cement your legacy, a song that many Nigerians will know, will listen to”. So when I was making God's Engineering 2
(previous album), we made ‘Family’. It didn't go as viral as he wanted it to go. So when I was making God's Engineering
3, he was paying special interest in the recording process. When I made the song called ‘Read the Signs’ with Terry
Apala, Blaq was super excited. He even helped me contact Terry to be on the record. He was like; “yo, this is the
record. You finally did it your way. You just have to put a budget behind this record, and it's going to go super
viral”. I was like, cool. It's supposed to be the single anyway. But then I told him that I'm not going to make the
album without him doing a verse. I wanted a rap verse. So before I wrapped up the album, I called him and I was like,
yo, I'm wrapping up the album and I need that verse. And he was like, say less. I think two days later, I just got an
email and he had recorded on a YouTube beat. I listened to the verse and the hook and I was like, Oh, is this how you're
feeling? He was like, yeah, a lot had happened before he recorded the verse. He put down how he felt about what was
happening. I was like, okay, I jumped into the booth and dropped my own verse in like, maybe like 15, 20 minutes. But I
held it back because I was still not certain because it was on a YouTube beat. We sent it to a producer called Jxses. He
was able to make a beat that matched what we were already feeling - which is one of the hardest things to do. We didn't
think of it as a single, right? We just wanted it to be on the project. After I finished the album, I played it for my
team and they were like, yo, it's hard - and this should be the single. They were like, the hook, the chemistry,
everything is just a safer bet. And I spoke to the guys on the distribution side, and they were like, yeah, they
actually think that the song with Blaqbonez is the single. So we picked a date. And we dropped it. The situation between
Blaq and Modu (ODUMODUBLVCK), everything just escalated it. And yeah, that's how the song came about. We were not in the
same studio when we made the record. Blaq recorded his part, sent it to me. I recorded my part, sent it to him. And
people have been saying that that's one of my best verses yet. That thing that Blaqbonez wanted me to always have, “I
want you to have this to cement your legacy”. I always wanted him to be the person that would give that to me. I guess
he finally did it on this record.
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Generally, I’m an overthinker, and there was a point where there were a lot of slow-motion (TikTok) challenges in vogue.
That’s what inspired the line, “Got no time for no slo-mo.” It was also tied to my life because I knew I wasn’t young
anymore, and I knew I had to do something different. I was angry at life, but at the same time, there was no time to
slow down. Like I said, I’m an overthinker, but I’m also aware of the effects of overthinking, so that’s why I said,
“High blood pressure if you go think am” because with everything happening around me–with all the calamities–if I think
about them, I’ll just die. For the remix, I was on my way to a concert when Bella [Shmurda] called me on Instagram and
told me that he fucked with the song. He asked me to pull up to the studio, and at that time, Bella had just lost his
friend, Mohbad, so I knew where the energy was coming from.
Slide 1 of 8
