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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.

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!

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.

The vibe of the day was I had lost my voice, I was in the studio and I wasn't sounding as I wanted. My sound engineer

was laughing at me. So I became more cranky, but we made it work. The first version I wasn't feeling, because of my

voice. Then the next day I went to the studio and I did it again. And it came out amazing. Back then, I always used to

make songs about confidence and being that girl. But this was one of those songs that’s about love, being sexy and you

know, a boy. I'm usually not the best at writing love songs. I can write a heartbreak song in my sleep, but you see the

other way around is so hard for me. So when I heard the song, I was like, wait, this is sexy. There was like a whole

intervention for me. My team were very dramatic. They had a call and were like, “Ayra, we need to talk to you. We think

you should release Gimme Dat”. I was like, okay, “why are there 15 people on the phone? It's not that deep”. I went

home, I told my mom and she told me to just pray about it and think about it. I said, okay, I'm ready. Let's take it to

mixing. Let's master it. Let's release it. We had shot the video already literally like four months before. I

co-directed this video but didn’t really like it. So I was like, okay, let's send it to Wizkid. He said, “I love the

song. I'm going to do it, I got you.” Wizkid recorded the song in like three days. Nobody else would have been right on

that song asides from Wizkid. Even just his sonics and the sound, the chorus pattern was definitely very Wizkid. It

feels very like sexy Afrobeats. And everybody knows Wiz is the king of sexy Afrobeats. In the first music video, I had

long hair and that was a whole era for me. Then I was like instead of shooting something entirely new, I can just show

people how like I'm leaving that era behind. So I came out of the car like a phoenix with my new my short hair. We just

combined two stories into one.

“This Year (Odun Yi)” was created in Ikeja, Lagos, during a studio session with a young producer, Blaqjerzy. This was in

December 2012. At the time, we weren’t trying to make a hit song, we just wanted to create something simple and

encouraging for our fans as they prepared for a new year. We started the song on a reggae beat, we explored hip-hop, and

were still experimenting when the late Nomoreloss (musician) walked into the studio. After listening, he said the song

was beautiful but needed a different sound. That moment led us to switch to highlife, which became the song’s identity.

If you listen closely, you’ll hear Nomoreloss on the backup vocals. His contribution was pure genius. May his soul rest

in peace. Blaqjerzy was incredibly patient throughout the process, and “This Year (Odun Yi)” went on to become his first

major hit record. The song gained early momentum when Osam (OAP) of Naija FM began playing a rough studio copy on radio

even before it was properly mastered and before any official push. At the time, my contract situation was already

nearing its end, but the song was connecting naturally with people. I wasn’t trying to make a hit. I was simply trying

to make an honest, feel-good song to remind people that the new year would be a blessing. That intention is what gave

“Odun Yi (This Year)” its lasting power.

We are Christ Apostolic Church (C.A.C) Ibadan and this choir comes up from Good Women Association in the church. In

C.A.C, if you have a wife, automatically your wife belongs to the Good Women Association. The association is from

churches that belongs to C.A.C, not just one church. Yes, for “Odun Nlo Sopin”, that song, every year since 1960s, when

the year is running to an end, all C.A.C churches hold revivals. During any revival that time, they always sing that

chorus, “Odun Nlo Sopin”, especially from September to December. So till now, nobody knows who composed that song

because as members and women of C.A.C, we have been hearing that song come up every year. We picked it and we recorded

the song. We only added two verses when we went to the studio to record it. Nobody till today knows who composed that

chorus. We don't have only one person composing. All of us, we compose. We record every year. When we started, we

recorded twice a year, December and April, which is Easter. But after about six years, we stopped recording twice to

only once. So normally, every member will go to their prayer mountain to compose songs from the Bible and bring when we

have practices. Then we select songs spiritually. So, nobody can say they are the only one that compose all our

releases. We have 25 releases and nobody can say, "I'm the one who composed this." Because we collect the compositions

and then we spiritually select which will go into the recording. For “Odun Nlo Sopin”, one of us got the inspiration to

add two verses and we went to the studio and recorded. This means nobody can say, "I'm the one (that composed the

song)." We did it with Decca Records. It was recorded by Mut-Mokson in 1979. The man who owns the company is Mr. Ola

Kassim. He recorded us for our 25 releases. The man is late now. There are so many C.A.Cs in Nigeria but we are from

Ibadan, from different churches, about 21. We select two people from each church who has the talent of singing.

Altogether, we were over 100 choir members when we started but later, when there was state creation in Nigeria, most of

us had to go with their husbands to another state. We reduced to about 30 people in the choir when most of the 25 albums

were made. Each time, the number continued to reduce when some of us travel abroad to meet their children, to take care

of their grandchildren. It's the grace of God anyway. The Good Women Choir is led by Mrs. D.A Fasoyin by the grace of

God. I’m 86 years old. Most of us have gone to live with the Lord.

I made "Love Nwantinti" in early 2019, thereabouts. At the time, there was a lot of waiting going on… like, stagnation.

The label I was signed to at the time was merging with another label, so things were on standstill for a very long time.

I made the song in Victoria Island, Lagos. I was in the living room, my former manager, Favor was around. Uh, some

producers too. I was on the keyboard, then I made this nice mid-tempo beat and did a freestyle on it. I freestyled verse

one, did a chorus, then I think, that night or the next morning, I did verse two and three. The original plan was to

replace the chorus with actual words later on, but I ended up not doing that. Over time, after that night, a few changes

happened to the song. Like, I had a co-producer, Tempoe come make some additions to the drums. I had the elementary

drums and he basically added some detail to it. But, that very first day was when the vibe was laid. And yeah, the rest

is history, you know? I'd say the journey of this record is basically a spark that caused a whole forest fire.

This was one of the first songs I recorded during my camp in Ghana, 2024. The camp started with some sessions for Sony

Music. We were all busy because there were sessions all day and we couldn’t do much. I had made “Slipping out of time”

with just my guitar in my sister’s apartment in Abuja as far back as 2022. So one morning in the camp, I was playing it

and the producers, DUKE were like; “What song is this? Let’s make the song”. I was already so familiar with the song and

it felt impossible for me to share it. I felt very attached to the song and I didn’t want to subject it to people’s

opinion. I didn’t usually play it to people, but I just felt like playing it that day. That’s how we made it.

I had already started making “Bring you home” on my keyboard in Lagos in 2023. I was listening to a Rex Jim Lawson song

“Jolly Papa” and if you listen, you will hear that it inspired the progression for “Bring you home”. We made it in

January 2024 at a camp in Accra. I worked on the song with DUKE (credited producers). The thing is, when a song is

complete, as an artist, you will feel it. If something is missing from a song, I would aslo have a feeling. Sometimes,

you can still think about a song later and say “I could have done this or that”. But you have to know right now, what

you want to do. After listening, I just knew the song was complete and ready.

I was playing Chess with Michael Brun, I didn’t know him and he didn’t know me. This was during a Sony music camp in

Ghana, 2024. They usually do a kind of get-together as part of the camp. So we go to the beach, there was a Chess board,

and we played and introduced ourselves you know. He tells me he’s a producer and we got familiar We saw eachother again

at the camp the next day and he had the chance to listen to “Bossa Nova” which was one of the only songs I had. They

were taking a break from his studio session so he says; “let’s go into the studio, there’s nobody in there”. In the

studio, he started playing something on the keyboard with a kind of synth and some drum samples. I started humming along

and that became the melody of the intro. He recorded it and said; “You’re a genius bro!”. It all happened in about three

minutes. So he sent it to me and I shared it with DUKE, my producers at the camp. They were like we have to make this.

We were able to finish just one verse during the camp. I completed the song one year later.

I wrote “Stuck” when I was in my sister’s apartment in Abuja, 2022. This was when I first started really playing the

guitar a lot. I was just there, playing my guitar everyday, taking walks around the estate and listening to my

recordings. I had it recorded on my phone with just my voice and guitar. When I came to Lagos August 2022, I would play

it privately to people when I’m showing them my stuff. If you notice, it has the same first chords as “Slipping out of

time” (another Braye song) because those were the only chords I knew how to play on the guitar.

We were in Ghana, January 2024. The producers, DUKE said; “we made this for Tems, but she didn't use it”. When they

played it, right there, the melodies came to me. I said, know what, I’m going into the kitchen to write the song. I

wrote it without listening to the beat, all I had was that first melody in my head. Usually, I write my songs on paper,

but I wrote it on my phone, came out and said to DUKE, let’s record this. We’d had a long and stressful recording

session leading to this point. During recording, that part “all I need…” was so difficult for me to sing. When the mic

was not on my mouth, I’d sing it so perfectly, but when I have the mic, I’d get so nervous and couldn’t sing it. After a

while, I finally got something. I was recording right at the point that I was waiting for my ride to the airport. So the

first part of Painless Melody, I recorded in a haste.

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.

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.

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.

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.