Victony

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.