Wale

“hectic” was interesting because the first part of it was just 234jaydaa. I was just recording with her, and we were trying some stuff. I wrote that

part, but I wanted someone else to sing it. We were also trying to work on another song, that’s why, if you notice, at the start of the song, she

says, “I’m just gonna read it,” but the recording already started. She was reading and singing it and it just sounded so beautiful. I was thinking

of making it a full song, then I made this other song, “hectic.” I sent it to Amaarae, and she just slides on it. It was the kind of R&B stuff I

grew up on. For me to hear myself making music that sounded like what I grew up on, it just gave me confidence that it was what I was meant to be

doing. It sounded like the quality level that I admire. At that time, Solis was already sending me demos. She used to sing covers on her webcam. She

was just coming up and making lo-fi pop vibe, and I thought she’d do well on it.

I always wanted to make a song that was neo-soul but had an afro bounce to it. It didn’t exist at that point, so I was like, “I wanted to make one.”

In my brain, I just knew that it was possible to do it. I used to think about it all the time because I love neo-soul. So, I would always think of a

way to do it with gbedu. When I did the chords and put the drum pattern together, I was like, “Yeah, this is it.” It was exactly how I imagined it.

I sent it to Tay after a while. I already had the song for a bit. Tay and I were exchanging music. We have so many songs we’ve not released. One

day, I just sent him “green light.” I wasn’t sure he’d like it that much, but he sent it back right after, and I was like, “This is perfect.”

This one is very interesting because I was making that beat for Santi. We were all in the crib in Magodo (Lagos), and I was in the studio cooking

up. This was a period when there was a series of nights out, and I just made the beat off of that energy, and I had Efe Jazz come play that guitar

riff that’s now become super popular. At that time, Ifeanyi (Nwune) was managing Runtown, and Runtown was in Los Angeles. Ifeanyi told me he’d send

the song to Runtown, so I sent the song to him. I wasn’t thinking much about it like that, and then, one day, I got a FaceTime video call from

Ifeanyi. He just has his phone up and he’s smoking a blunt. He was in this studio that’s like an open studio, and Runtown is in the back, and I’m

hearing Runtown’s verse. I’m telling myself that this is the craziest Runtown verse I’ve ever heard. I was like, “Yeah yeah, this one is perfect.” I

didn’t even hear the final thing until later, but just off that phone call, it sounded great.

I like this one a lot. I made it one week after I made “wanted you,” and I was like, “I want to do more of that” because I had so much fun making

“wanted you.” Off the confidence of how “wanted you” sounded, I knew I wanted to make something like that again. While making it, I wasn’t sure it

was going to be on the project, but it made it.

Nasty C was in Lagos, and we met up. That was actually fun because we would go around Lagos at night, and I was with Santi and one of my homies,

Genio. So, we met up with Nasty C, and we made that song. It was a very interesting one because at that time, South African-Nigerian link-ups were

very popular, but there wasn’t anything really happening in the underground like that. Working with Nasty C and having Santi on it was very

important.

“take a break” and “outcast” were made around the same time, maybe between two days. I was just realising that I could say things, like I could say

what was directly happening to me. I had just gotten off the phone with my mum because I wasn’t really seeing my mum a lot since I started working

on music. I was just able to put the feeling directly into the music. I just had to figure out that I was talking to myself. It feels harder when it

feels like I’m talking to people. When it’s just a self-dialogue, it gets easier without knowing that I’m making a song for people or that they’re

going to listen to it.

I love “angel,” this is my second favourite song from the album. It was an interesting song to make because at that time, I was conceptualising the

idea of an offspring, and I was thinking of what song I would like my kid to hear from me if I had a child in the future. In my head, “angel” was

that song, and that was the concept behind it. Duendita was an artist whom I had found at that time, whose voice was very special to me. I just

messaged her about the song, and we made it.

I don’t remember the era I made it, but I was getting very bold because I remember making it, and GMK was in the bathroom. He came out and was like,

“What the fuck are you doing? This is weird,” and I was like, “Yeah, I like it.” I remember making the beat separately and recording the song later

that night. I was just super inspired by the ‘80s classics by Bobby Brown and Ralph Falcon, just that smooth ‘80s programmed drums, reverbs, and

snares. That was what motivated that one.

So with this one, I woke up from one of those naps where you’re sweating. You just took an evening nap, and you wake up, and it seems like a war

just happened. I see like seven missed calls on Snapchat, and it’s from Tycoone, who’s David’s creative director. I hit him back, and he’s like,

“Where are you? David wants to see you.” I’m like, “What the fuck? Alright, bet.” So, I pull up and we go to this place called Shisha Lounge back

then. David has this whole entourage, and there were so many people around him. I think Peruzzi was with him at that time, and this producer called

Fresh. I wanted to sit on the other side because there were so many people, but Davido called me over to sit right beside him. I was nervous as

hell. I was very antisocial at that time. He then told me to start playing music, and I played “outcast,” then I played “falling,” and he said,

“Them go love you for Yankee.” He then asks me to play him stuff I’d not worked on, and I had the beat for “divine” from Hvrry, the producer. The

beat only played for three seconds, and he was like, “Yeah, this is the one.” That was the first time I’d ever seen someone do that; he hadn’t even

heard the beat for long enough, but he was just like, “Let’s go.” So, we got into the cars and we went to Eko Hotels. He rented out a suite, and we

set up there to work on the song. He kind of added some production stuff; it was the first time I’d seen him work in person, so it was interesting

to see how involved he was in the process. Later on, I found out that he used to produce music. Working with him was interesting. I feel like if

life permits it, and we work on music together again, it would always be interesting because there’s a certain understanding of production.

“outcast” is very inspired by my life experiences up until that point, when I was working on the album. I had a very interesting self-perception

where it felt like I wasn’t really fitting into places as naturally as I would have liked, even if I tried to. It was reflecting on the light that

came on me, so that’s why that song was a very interesting point for me. I remember making it and knowing that I know how to express myself on songs

easily without saying too much. I had just started recording music properly, like one and a half years prior. So, I was getting better as the second

passed and it’s a song that made me feel that I could say things easily. I was at Magodo (Lagos) in GMK’s house when I made “outcast.” It’s where I

made most of the songs.

I started this one and sent it to Hamzaa, and I was like, “Yo, just go crazy,” and she did. I feel like she’s one of my favourite vocalists that

I’ve ever heard. She’s one of the earliest people that it’s been super easy to talk to about music because she really loves soul music, and I love

soul music as well. She just understood certain things I’d say and be interested in, and she has a great voice, too. When she sent “take me there”

back to me, I was like, “Woah, this is such a big voice.” I loved it because I knew I wanted this song. At this time, I hadn’t even thought about

sequencing or anything, but I just knew that this song was needed because it had this kind of transitional feeling towards the rest of the project.

There wasn’t anyone around me who influenced me or this sound. I was really just interested in ‘80s pop music at that time because I was revisiting

some Nigerian classics and some TV shows that had dropped at that time. I found out Chris Okotie used to make pop music, and the quality of the

music was great. There was William Onyeabor as well. It was nice to see people who experimented with synth music who were from where I’m from and

looked like me. Making “falling” made me realise what the project was supposed to sound like. I teased it the night I made it, the video is still

somewhere on my Twitter (X), and from the response I got, I was sure that this sound was where I wanted to go. I was able to communicate as

naturally as I could, but it still had all the elements I liked.

I was actually devastated around this time because I had just lost my laptop. I was working on a different album, which I thought was going to be my

first album. Something happened to my laptop, and I sent it to someone to fix, and they just ran away with it. So, all the music I’d been working on

up till then was gone. I had to start from scratch. “Rare” was one of the last songs on the album. I had this guy called DAP The Contract help me on

that. He’s very great at arranging. I had met DAP through another friend, Seni Saraki. DAP and I would exchange music all the time, and I saw how

mature his perspective was. That was good for me because at the time, I didn’t have too many resources to see all the people I was studying on a

global level, but he gave me the same kind of feeling that I would have expected from those people because of the understanding he had, and he was

also close to home. He helped with the arrangement of “rare.” The song started with me hanging out with Hamzaa one day, and she was playing the

piano. I sent a voice note to her a few days prior, just saying those words, and she sang it that way. That’s how that came together, and we

eventually got DAP to do some additional vocals because I wanted it to sound like gospel or a choir.

I have to give a big shoutout to Vado. Kizz Daniel is another person who goes out of his way for me. I can’t thank him enough. “lost” was actually

written because people rarely sing about the ups and downs of love. No one talks about when you’re crying in that corner of your room because that

girl is not responding to your text. No one talks about when you’re feeling down because that guy is acting anyhow. No one really talks about those

parts, and that’s what “lost” is all about. It’s written in homage to the bad sides of love. Having Kizz Daniel on the song changed its dimension. I

wasn’t expecting the delivery to come out that way. He really showed the big OG that he is. There are levels to this music thing, and Kizz Daniel is

just at the top.

“you” wasn’t written based on my perspective or something I was going through. My manager, MelvinTheWave, was in love at that point. He was so in

love, and I was always observing him and his actions. So, I was just copying and pasting his lifestyle on that song. It’s a love song talking about

your girl and how she’s making you feel. “You” was written in March of 2025, and it was produced by Kel P. Kel P is so great at what he does; he

won’t let you sing rubbish. He’s one of the producers I’ve met who is very deliberate about what he does. A lot of producers don’t care about what

you’re singing as long as you work with them and use their beats. Most people just want to record and go, but Kel P won’t let you do that; it has to

be up to standard. In fact, he won’t let you write your songs alone; he wants to listen before you record. He’s very interested in what you want to

put down. Even if it’s great, he’s still looking for a way to make it better.

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.

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.

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.

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.

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.’

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.

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.

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.

“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.

“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.

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.

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.