Raised between Bariga and Abule-Oja in a regular Christian Nigerian household and educated through model colleges before studying Estate Management at the University of Lagos, Almst Joey carries himself like someone moulded by structure and escape. Anime, raves, gym sessions, gaming, heartbreak, women, loss, and the chaos of Lagos life all bleed naturally into his music, which he calls “written intimacy”. Across a conversation that moved from his “music or die trying” turning point to the intentionality behind his sparse releases, the artist born Osagie Joey Ekunwe spoke with the same calm confidence that defines his records: soft-spoken, reflective, but certain about the world he is slowly building around the name Almst Joey. 

Who is Almst Joey beyond the music, and what kind of environment shaped him growing up?

Almst Joey: I grew up in a regular Christian Nigerian household, but I definitely wasn’t a choirboy. I attended two model colleges—one in Badagry and another in Ikorodu—before studying Estate Management at the University of Lagos. I split my upbringing between Bariga and Abule-Oja. Outside music, I spend a lot of time watching anime, going to the gym, attending raves, and playing games.

How would you describe your personal style, given the Pan-African aesthetic you present?

Almst Joey: My style is laid-back and earthy. I’m into cowries, dungarees, jewellery, and accessories that paint a picture of freedom. My hair is semi-freeform dreadlocks, I only redo them once or twice a year. It’s a “Dada” style to me.

What course did you study at the University of Lagos?

Almst Joey: I studied Estate Management. It’s obviously very different from music, but real estate just wasn’t for me.

When did you discover music, and when did you decide to pursue it professionally?

Almst Joey: I’ve always loved music. I started writing from a very young age, and at first I was naturally drawn to rap because that was the dominant sound then and around me. At some point in my life, though, it became a “music or die trying” situation for me. I started saving money, negotiating payment plans with my producer just so I could record. That was when music stopped being casual and became completely serious.

What parts of your real-life experiences naturally find their way into your music?

Almst Joey: I love women. My love for women is a major theme in my music. Songs like “If I Dey Lie” celebrate women artistically. I also draw from personal loss—I wrote a song about a friend who passed away, and it was difficult because I found out late. A lot of experiences from people around me also find their way into my lyrics. Sometimes I tell stories that aren’t directly mine but are stories I know deeply. Anime also feeds my imagination creatively.

How would you describe your sound to someone hearing it for the first time?

Almst Joey: I’d describe it as “written intimacy”. I take ordinary, everyday human interactions and emotions and turn them into music. My latest single, “Obimo”, is a good example — it’s about seeing a girl, being captivated by her, and everything that follows emotionally. My sound is really about emotional connection and relatability.

Is there a strategy behind the roughly one-single-per-year release spacing since your debut?

Almst Joey: Yes, it’s both strategic and intentional. My team and I planned it that way. Even during quiet periods publicly, I’ve been in the studio constantly—writing, meeting new producers, and building my catalogue. I’m definitely entering a phase where people will hear a lot more music from me.

Are upcoming releases going to be singles or a full project?

Almst Joey: A project is definitely coming. I can’t say exactly when yet, but there’ll probably be a few more singles before then. Or maybe I’ll just surprise everyone—like a jack-in-the-box.

What is more important to you at this stage—numbers, emotional connection, or artistic identity?

Almst Joey: Emotional connection comes first for me. I want my music to become part of people’s memories, the same way artists like Davido and Wizkid are tied to certain moments in people’s lives. Once people connect emotionally, they start understanding your artistic identity, and then the numbers follow naturally. Without connection, none of the rest matters.

Are there artists—Nigerian or global —whose approach to music or career building has influenced how you move?

Almst Joey: Definitely. I’m a big SAINt JHN fan. SAINt JHN influenced the way I think about vocal treatment. Wizkid inspires me with how calm and intentional he moves, while Davido inspires me with his work ethic and kindness. I’m also inspired by the rebellious energy of Benin artists like Rema and Shallipopi. The confidence of Burna Boy. Combining vocal artistry, intentionality, hard work, kindness, and rebellion—that’s the ideal blueprint for me.

Why did you choose to share your debut moment with Crayon, an already established artist?

Almst Joey: I released the original “If I Dey Lie” first, and it started gaining traction on TikTok. After that, I reached out to Crayon, he loved the song and jumped on it organically. It wasn’t some calculated debut strategy. A lot of OG fans still prefer the original version, but personally, I loved what Crayon added to the remix.

Is the ease and melodic sweetness across your records something cultivated intentionally or something that emerges naturally in the studio?

Almst Joey: It’s intentional. My sound has two sides. There’s the smooth, soft, soothing melodic side you hear on songs like “Obimo”, and then there’s a more urgent, upbeat, party-driven side which I teased on “Your Waist”. Both sides are deliberate expressions of who Almst Joey is. They’re two sides of the same coin.

In a saturated Nigerian music scene with many emerging acts, what will make you stand out long-term?

Almst Joey: Genuine connection with your community is what creates longevity. Music will always evolve, and artists will always be compared to one another, but what keeps you here is how deeply connected people feel to you. I want my fanbase, the Troops, to see me as more than just someone making good music—I want them to see me as a friend. Friends earn loyalty. That’s different from “jollof music” that gets quick excitement but fades away fast.

What do you think listeners most misunderstand about emerging artists today?

Almst Joey: People compare emerging artists to already established artists too quickly instead of actually listening to what the artist is trying to say. Every artist has their own voice, sound, and story, but people naturally try to connect new things to something familiar. That stops them from fully experiencing an artist’s individuality. Also, unsolicited advice from people who don’t fully understand your vision can become distracting.

What does success genuinely look like to you right now?

Almst Joey: Success for me is reaching 400 million streams, charting, selling out shows, and building my Troops into a global movement beyond Nigeria. But success is also relational for me. I want fans to approach me comfortably, like they’re meeting a friend, not some untouchable celebrity.

What have you not yet shown listeners about yourself?

Almst Joey: Everything people have heard so far is honestly just scratching the surface. They’ve heard the love music and glimpses of the upbeat side, but like an onion, there are still so many layers to my artistry that people haven’t seen yet. It’s like a universe I’m still building and painting.

What does Almst Joey want the name to represent in the future, and what is the significance of the spelling?

Almst Joey: It’s spelt A-L-M-S-T, not the regular “almost”. It’s a pun. I want the name to represent someone deeply grounded and authentic for the people—like a flag bearer. When they hear Almst Joey, they hear “Gbedu”. And it isn’t just about saying a jam is coming, but something culturally rooted and owned. I want people to feel like Almst Joey is their person.

The post The Soft-Spoken Freedom of Almst Joey appeared first on Afromixx.

Your videos feel very rooted in culture, movement, and real-life energy. What originally pulled you into directing, and what made visual storytelling feel like your lane creatively?

KEMZ: I’ve always been a visual artist in one way or another. Growing up, I used to draw and paint a lot, and over time that naturally evolved into graphic design. From there, I got into making videos and eventually realised this was something I could actually do professionally.

I think visual storytelling felt natural to me because I’ve always connected more through visuals and emotion than anything else. Even before directing, I was already thinking in pictures, colours, moods, and moments.

Another important part of my journey was the support system around me. My parents really encouraged my artistic side, so I had the freedom to grow creatively without feeling restricted. That space helped me experiment, improve, and eventually find my voice as a director.

A lot of people see the final music video, but not the thinking behind it. When you approach a new project, what’s usually the first thing you focus on emotion, world-building, performance, colour, pacing, or something else entirely?

KEMZ: My approach to directing is very purpose-driven. The first thing I usually think about is what the project is supposed to achieve and the kind of impact it should have on people. That becomes the foundation for every creative decision after that.

So if it’s a music video meant to sell a certain energy or lifestyle, I build around that feeling. If it’s about helping rebrand an artist or present them differently, then I pay close attention to the elements that support that direction: performance, styling, colour, pacing, environment, everything.

I don’t really approach every project with one fixed formula. My process changes depending on the goal of the project. Once I understand the purpose clearly, the creative world starts building itself naturally from there.

Your work often carries a certain intensity and lived-in realism. How much of your directing style comes from personal experiences, environments, or the kinds of stories you grew up around?

KEMZ: I strongly believe I’m a product of everything I’ve experienced throughout my life, from childhood up until now. A lot of my directing style comes from the environments I grew up in, the people around me, and being deeply connected to Nigerian culture.

Growing up, I was constantly feeding my mind with art, music, films, entertainment, and visuals through TV and the internet. All of those things shaped the way I see emotion, movement, energy, and storytelling today.

I think my work carries a certain realism because it comes from things that feel familiar to me. The stories, the atmosphere, the characters, even the way people move or express themselves; a lot of it is inspired by real life experiences and observations. In many ways, my work is a reflection of everything I’ve absorbed creatively and personally over the years.

You’ve worked across music videos and commercials with major artists and brands. How do you balance creating visually striking work while still making sure each project feels authentic to the artist or story?

KEMZ: I think the balance comes from being very intentional with every project. I always look for the X factor, that one thing that gives the work its own identity and makes it stand out naturally.

I don’t like approaching projects passively because that’s usually how creative work starts to feel repetitive. So with every music video or commercial, I try to find a unique angle, mood, visual idea, or creative detail that makes the project feel special on its own.

At the same time, I still make sure the work stays true to the artist, brand, or story.

You’re now expanding into narrative film with JAPA. What has been the biggest creative shift moving from music video directing into filmmaking, and what kinds of stories are you hoping to tell through film going forward?

KEMZ: The biggest creative shift for me moving into film has honestly been patience. Film requires a much deeper level of patience from the very beginning; from developing the idea and script to working with actors on set and shaping performances carefully.

With music videos, a lot of storytelling is driven by energy, visuals, rhythm, and moments. But film pushes you to pay closer attention to emotions, dialogue, character development, and the small details that carry the story forward.

It’s made me become even more intentional as a storyteller. In film, you can’t rely on just beautiful visuals alone. The emotions have to feel real, the performances have to connect, and every scene has to serve the story properly.

That’s probably been the biggest adjustment for me, understanding that filmmaking demands a different level of patience and precision, but it’s also helped me grow creatively in a deeper way.

The post Inside Kemz’s Creative World: The Nigerian Director Behind “Nyem Ego”, “Obapluto” and JAPA  appeared first on Afromixx.

Somewhere between those discoveries and his own ambitions, Homebase was born.

The single blends Afrobeats with amapiano, but what makes it stand out is the message beneath the rhythm. When asked about the phrase Odikinaka cheta Homebase, which he repeats throughout the song, he explained:

“Odikinaka cheta Homebase is an Igbo adage that means remember home when success starts to come.”

That line makes Homebase more than a song to dance to. It becomes a reminder that growth should not cost you your identity, and distance does not have to mean disconnection.

How Sucrepapito Blends Afrobeats and Amapiano

In recent years, amapiano and Afrobeats have become two of the most exciting sounds within African music’s global expansion. While some artists choose one lane, Sucrepapito leans into both.

On Homebase, Afrobeats brings familiarity and melodic warmth, while Amapiano textures add movement and bounce. The result is a sound that feels like migration translated into music.

Beyond making music, he is also the creator of Afrobeats vs Amapiano Verdict (AAV Show). A structured platform where he explores, discusses, and ranks contemporary African sounds. The project reflects his interest in how genres evolve, overlap, and compete within today’s music ecosystem.

It also positions him as part of a growing wave of UK-based Afro-fusion artists who not only participate in the sound but also actively shape how it is interpreted, compared, and consumed globally.

As African sounds continue to travel across borders, artists like Sucrepapito are proving that identity can travel with them too.

Sucrepapito’s Creative Process and Inspiration

When speaking about his creative process, the artist describes it as intuitive.

“My process often starts with a few lines or a melody in my head, then I work with a producer to develop the full sound.”

He also revealed that one of the strangest places inspiration has found him was in Lagos traffic.

“I got the inspiration for my song ‘The One’ during a bus ride from CMS to Lekki.”

For someone singing about remembering home, it feels fitting that one of his favourite meals is oha soup, and yes, he can cook it too.

The Story Behind Sucrepapito’s Journey

Like many promising Nigerian artists, Sucrepapito’s relationship with performance began early.

There was a church choir, dance competitions, and even a win at the 2010 Global Communications rock and roll dance competition.

Long before Homebase, there were already signs that rhythm and performance would remain close to him.

Later, while other students treated holidays as time to rest, he spent his breaks away from Mass Communication classes at Madonna University, Okija, in the studio. 

After striking a deal with his father, he earned the chance to record two songs every holiday as long as he returned home with good grades.

That arrangement helped shape the artist he is becoming today.

When asked about the artists who have shaped his musical taste, Sucrepapito points to a wide and ambitious range of names.

From the creative boldness of Kanye West to the showmanship of Bruno Mars and the star power of Wizkid, Davido, and Timaya, his influences stretch across genres and generations.

Though he’s currently an independent artist, he remains open to partnerships with labels that value artist development and long-term structure, citing Mavin Records as one example.

What’s Next for Sucrepapito

Beyond the music, Sucre Papito is still in the early stages of building his audience and shaping his artistic identity.

A recent listening party for Homebase saw a strong turnout, hinting at a growing community forming around his sound.

For now, the focus remains on consistency and connection, as he continues to build a fan base that grows with him.

When asked what he hopes to see when he looks back on his career years from now, his answer was simple:

“Greatness.”

If Homebase is any indication, he is already laying the foundation.

Listen to Homebase on all streaming platforms now.

The post Sucrepapito’s Homebase Holds On to Where It All Began appeared first on Afromixx.

For an artist whose journey reads like a masterclass in resilience, ‘No Jonze’ is deeply symbolic, an appropriate prelude to his forthcoming fifth studio album. ‘No Jonze’ soundtracks Patoranking revisiting the foundation while looking ahead to his fifth studio album, a project he describes as music that “makes you feel”. From his quiet reflections on fatherhood to his thoughts on preserving African music legacies, he speaks with the calm conviction of someone who has seen it all, lost some, and still chooses joy.

In this conversation, Patoranking opens up about bringing Galala to a global stage, fatherhood’s quiet lessons, the unspoken responsibility of legacy, and why ‘No Jonze’ heralds this new phase.

Your new single ‘No Jonze’ is a love letter to the Galala sound of Ajegunle and a bold statement for your upcoming fifth album. Why did you choose ‘No Jonze’ as the lead single to herald this new era, and how does it set the tone for what fans can expect from the album?

Patoranking: Considering the theme for this new project, I wanted to make music that I grew up on, music that makes you feel and music that you can relate to no matter where you are from. Galala is my foundation and it aligns perfectly with the theme of the album and best explains the headspace I’m in. It was just right to start with ‘No Jonze‘, which embodies the typical Galala sound.

The track’s title flips Lagos street slang into a universal mantra. What’s a personal moment in your life when you had to tell yourself “No Jonze”—don’t fumble the moment—and how did it shape you?

Patoranking: I think every single day that goes by, I remind myself silently of why I started and why I can’t be caught tripping. There hasn’t been a particular scenario that pushed me to the edge where I had to tell myself “No Jonze” but it’s a daily silent mantra for me to keep my focus, knowing I am a role model to many, a father and an ambassador of the culture.

‘No Jonze’ brings back the raw, percussive energy of Galala, a sound you’ve called the “stepchild of dancehall”. Growing up in Ajegunle, what’s a vivid memory of how Galala music shaped your dreams as a young artist, and how does it feel to pay homage to legends like Daddy Showkey and Marvelous Benjy in the video?

Patoranking: My fondest memory of Ajegunle is when I would be at every single street carnival dancing to the biggest Galala songs of that time, later transitioning into an artist with the sound having a big influence on me and the genre of music I identify with reggae dancehall. It was a joy for me to return to the same neighborhood that shaped my musical sound and film there, recreating the same sound from decades ago. Having legends like Marvelous Benjy, Allen B, and others grace the video shoot was just cool man! We also had a mural of Daddy Showkey, Baba Fryo, Danfo Drivers, African China etc. 

The ‘No Jonze’ video feels like a cinematic time machine to ‘90s Lagos. What was it like filming in Ajegunle with those street vibes and real faces? Any behind-the-scenes moments that hit you emotionally?

Patoranking: Filming in Ajegunle was the right choice we made for this song. Because it’s just right to take it back to where it all started, the home of the sound – Galala. That day brought a whole lot of memories; the come up, the struggles and where we are now. Reconnecting with people from my past again was the highlight of it for me. People like Marvelous Benjy, Allen B, Skinny, Storyteller also known as Teller Moni just to mention a few. We launched and we danced on set, it was fire. It’s important to celebrate ourselves whiles we are alive you know.

Yes, it is…You’re a global star, but you’re also a father and a Lagos boy at heart. Can you share a “regular life” moment—like something you do with your daughters or a simple routine in Lagos—that keeps you grounded when you’re not on stage or in the studio?

Patoranking: When I’m not on stage or in the studio, I spend time with my daughters. I try to show them Lagos through my eyes but not the rough part (laughs). I take them to school sometimes or pick them up from school and in those moments I’m just Wilmer and Welda’s dad.

How do you balance the demands of being a global artist with those personal moments, and has fatherhood changed the way you approach your music or your purpose?

Patoranking: I always try to find a balance and not lose myself. Yes! Fatherhood has further refined me because anytime I want to do something now, whether is a lyric or a music video, I have to first remember I’m now a father and have to be extra responsible with things I do or say out there.

Recently, on an Afrobeats podcast, the host, aged 28, said she didn’t know who the veteran artist and your colleague Asa is, assuming she was too young to know her. What’s your take on this generational gap in Afrobeats appreciation, and how do you see your role in bridging the old and new sounds of African music?

Patoranking: We really need to educate ourselves more about both the past and the present of our music. That’s the only way we can tell our stories properly to the world. It’s not just one person’s job, it’s up to all of us including artists, DJs, the media and even the fans to keep the music from all generations alive instead of just focusing on current trends. We have to embrace what came before us because even Afrobeats is influenced by many of the old sounds. Asa is a great musician, I love her! Just look at ‘No Jonze’, it’s important for me to use my music to educate and show those classic influences while bringing them to a new audience.

With ‘No Jonze’, you’re bringing “Galala” to a global stage alongside sounds like Dembow and Gengetone. How do you respond to naysayers who claim Afrobeats is “dying” or losing its edge?

Patoranking: Galala has its influence from Dancehall and it’s interesting to see how sounds from different parts of the world share a similar background story. Regarding Afrobeats, when  it comes to the people it’s dying or losing its edge, I see that narrative as misguided. Afrobeats is still in its infancy. I understand there may be a decline when it comes to Afrobeats to the world because the sound is starting to sound same.  But there’s still more to our music. In the beginning, it made sense to group everything under a single genre Afrobeats but now we need to showcase all the diverse sounds and cultures we have as a continent of over a billion people. We need to educate the world about our many sounds while celebrating what has brought us to this point. Let’s expand the narrative.

Your last album, ‘World Best’, was a powerful manifesto of self-excellence and social commentary. Without giving too much away, how does this fifth album build on or differ from that narrative, and what new stories from the streets or your life are you weaving into it?

Patoranking: Yes, ‘World Best‘ was all about self actualization and reaffirming my musical prowess. With this fifth studio album, I’m in a space where I want to take the world on a musical journey, drawing inspiration from the music I grew up on in the ’90s and infusing it with a touch of the present. Music that makes you feel. Every single song is crafted around stories we can all relate to in our day to day lives.

Through the Patoranking Foundation, you’ve impacted over 5,000 young people with scholarships and community projects like the football turf in Lagos. What’s one story from your foundation’s work that’s stuck with you, and how does it fuel the themes of hustle and resilience in ‘No Jonze’?

Patoranking: I remember when we were looking at building the football turf in Ebute Metta. We reached out to so many partners and brands to support us. But no one wanted to support us. Our mission is to build 99 more across different underserved communities across Africa. So my manager told me, “Pato, since this is important to you, let’s go ahead and fund this first one ourselves.” And so we did and it’s the best thing we ever did. The community also helped with the construction. To me this story is what no Jonze is all about. It’s focus and keep your eyes on the prize no matter what. If you believe something, you have to push through and make it happen. Today seeing the kids in the community play on that pitch, host tournaments makes me happy and it shows why we do this work. It’s not just about building a football turf, it’s about empowering communities and inspiring the next gen to stay focused on their dreams.

As a UNDP Regional Goodwill Ambassador, you’re championing youth innovation across Africa. What’s one bold idea you’d love to see African youth embrace to shape the continent’s future?

Patoranking: For them to embrace their personal stories because that’s their superpower. Just like how I use my own story and experiences through my music or speaking. So no matter the medium, I feel our stories are way more powerful than we think. For the Patoranking foundation, sharing your personal story is one of the requirements for our scholarship applications.

‘No Jonze’ is described as music for “resistance, survival, and freedom.” Looking back, what’s a moment in your career where music became your tool for resistance or survival, and how do you hope this single inspires underdogs listening today?

Patoranking: Music is a way to share my story, it’s my medium to pass a message while making people dance you know. Making music that makes sense is important to me. For underdogs, I want them to keep going, no matter what. You can make good, relatable music while making people dance. I lost my sister and brother in law while I was recording this album and I found joy through my pain. The music gave me hope, it kept me going. Music is how I can sing how I feel and own it. I hope No Jonze inspires everyone to embrace their struggles and keep pushing forward.

Tracks like “Babylon” on ‘World Best’ tackled systemic oppression. Are there similar socio-political themes in the new album, and how do you balance those heavy topics with the dancefloor energy you’re known for?

Patoranking: Yes, always! You will always find songs like this on my albums. I make sure it’s not too heavy, so I balance it with either infectious beats or catchy melodies. Sometimes it’s even how the track is arranged and mixed. ‘No Jonze’ was arranged in a way to make you want to move and even how it was mixed to give you the old Galala feel. 

You’ve performed in over 50 countries and worked with artists like Bob Marley’s estate and Major Lazer. How does it feel to see Afrobeats and Afro-dancehall influencing global music, from Latin America to the Caribbean, and what’s one misconception about African music you want to set straight?

Patoranking: I absolutely love it and there’s so much more to come! African music, specifically Afrobeats is not dying. There’s so much more to us, many genres from the continent. We are over a billion people with diverse cultures and there are so many talented young artists, producers, music execs, and more. More to come

When you look at your legacy, what’s one impact; musical, cultural, or social you hope Patoranking is remembered for in 20 years?

Patoranking: That I was able to use my music to bless my people, that I was able to use my music to celebrate us Africans.

If you were to host a street party in Ajegunle to celebrate ‘No Jonze’, what’s one food, one drink, and one classic “Galala” track (besides your own) that’s a must-have to keep the vibes right? And why these choices?

Patoranking: Food will be Bread and Beans. Drink will be Cold Water and one classic Galala song will be Marvelous Benjy’s ‘New Dance’. The Party is set!! Why? Because that’s what we did! 

The post Exclusive Interview: Patoranking’s Return to Ajegunle And His “No Jonze” Era appeared first on Afromixx.

Q: To start, could you give us a little background about yourself, and just so we get it right, how is your name correctly pronounced?
A: It’s pronounced eh-foo-ay. I’m from Edo State, but I grew up in the North, Kaduna State to be precise. My parents are both from Edo, but I lived in Kaduna until few years ago, when I moved first to Abuja and then to Lagos.

I come from a family of music lovers, so I was surrounded by music from early on. Books were another big part of my childhood. I read a lot, and that eventually pulled me into literary works. The storytelling side of my music is heavily rooted in that. Oh, and I was a literature student in school too.

Q: In the short written piece that rolled out with “Beauty and the Beat”, you mentioned straying away from your “purpose” for a while, which is music. Could you share what happened during that period and how you found your way back?
A: That part wasn’t tied specifically to the release of “Beauty and the Beat”. It was from a much earlier period. Over the years, I dabbled in a lot of things; I sold food, tried selling soap and skincare, got into tech and design, even started a computer science degree that I eventually abandoned.

But no matter what I did, I always came back to this point where I told myself, “You know you want to do music”. Nothing came to me as naturally as music did. So one day, I just decided to give it my full focus, to pour all my time and energy into it. That’s the message I was trying to pass across in the rollout for “Beauty and the Beat”. After all the little side quests, I came back to the thing I truly love.

Q: Speaking about the rollout, I have to say the bread analogy you used was interesting. You painted bread as this special thing and likened it to your music. Is bread really your favorite thing to eat?
A: Oh, I do love bread. Maybe a little too much. I’ve been struggling with that love for a long time because, you know, bread isn’t supposed to be the healthiest thing for us. But every time I try to take a break from it, I find myself going back.

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Q: When did you first discover music, and at what point did you decide to start pursuing it professionally?
A: I had an intimate live show in 2018, but afterwards I found myself drifting again, chasing other side quests. Along the way, I got commissioned to ghostwrite a song for someone. I honestly didn’t expect to be paid for it, but I was, and that felt like a eureka moment. It made me realize: I can actually do this.

A friend then advised me to take songwriting seriously and start earning from it since I was good at it. That’s when I included songwriting among my many side quests, and from there, music became something I pursued professionally.

Q: You’ve often described music as a higher calling. What do your aspirations with this gift look like in the long run?
A: I think as an artist, the first thing is to make art for yourself, and then share it with others. For me, the aspiration is that when someone hears my name, they know my music, they love it, and they find it relatable.

I don’t think there’s ever a final point of fulfillment, but for me, being actively involved in making music, that’s purpose. As long as I’m creating, sharing, and being happy in the process, that’s the dream. Of course, every artist wants to “blow”, but beyond that, I want a genuine relationship with listeners who connect with my work. Honestly, just being this person right now—actively creating—I feel like I’m already living my aspirations.

Q: Your sound leans into a style that isn’t the most mainstream in this part of the world. How do you feel about that, and how have you approached carving out space for yourself?
A: I know what pop music here sounds like, but I also believe Nigerians are ready for new sounds. Good music speaks for itself. if it’s consistent, people will adjust and embrace it. I don’t mind the narrative that “this isn’t the kind of music they do here”. My tribe will find me. Someone has to start something, and I’m fine with being that person.

I only started experimenting with Afrobeats a few years ago. It was something I had to learn; how to fuse my style with other genres and arrive at this Afro-R&B blend. But I don’t know what sound I’ll be drawn to next year, and that’s okay. It’s all part of the process.

As for carving space, I realized hoarding music doesn’t help. The only way is to keep putting work out there. One person hears it today, tells another tomorrow, and slowly it spreads. That’s how I’m creating space for myself, just by staying involved in the process.

Q: Let’s talk about process. What does a typical song journey look like for you, from the first spark of an idea to the final master?
A: Every song is different. Sometimes a producer sends me a beat, I hear it, and I finish a song in a day. Other times, nothing clicks until weeks later. Sometimes it’s a melody that won’t leave my head until I finally write it down.

For example, the melody for my debut single ‘Timeless’ was in my head for about three years before I finally put words to it. That song went through so many tweaks with the producer before it became what it is now. On the other hand, “History” came together in less than a month. I recorded the vocals the day after I got the beat, and it was released the next month. Every song has its own journey.

Q: Beyond likening your music to bread, how else would you describe it, and in what ways do you want it to inspire listeners?
A: I’d say my songs are like diary entries. Every song draws from my life and experiences in one way or another. I want people to hear a song and say, “I’ve been going through this, and this track perfectly captures how I feel.”

If I had to describe my music in one word other than bread, it would be relatable. I want listeners to resonate with it on a personal level.

Q: After releasing singles like “History” and “Wanna Know”, you went on to put out your debut project ‘Memorabilia’ roughly a year into sharing music on DSPs. What pushed you to release a body of work at that point?
A: Before I moved to Lagos, I was writing a lot of songs. I had so much on my mind, and I turned to music as a way to express myself. I wasn’t even thinking about speaking to people at that point, it was just about putting my feelings into words.

When you listen to the songs on ‘Memorabilia’, you can tell they share a mood, a similar headspace. I also felt it wasn’t enough to just release singles. I wanted to create a collection that captured where I was in that era of my life. As an artist, I think it’s important to leave behind these little capsules of your different eras. That’s what ‘Memorabilia’ was for me; a snapshot of that phase. And of course, I’ll move into new eras and create new works as I grow.

Q: “Cloudy” is such a moving opener on Memorabilia. What or who inspired that track?
A: I probably shot myself in the foot earlier when I said every song comes from personal experiences, because now everyone will be curious! “Cloudy” was written about last year when I was still putting covers and short originals online. At the time, I was going through a breakup, and “Cloudy” came out of that period.

When my manager heard it, he asked me to send him the stems. We worked on it together, developed it, and that’s how the final version was born. It was definitely inspired by someone from a past relationship.

Q: What would you say is your favorite part of making music, the moment that excites you most in the process?
A: For me, it’s when the lyrics and melody finally click together. Sometimes I start with melody, sometimes with lyrics, and I often piece songs together from the end or the hook. But that exact moment when everything aligns and it sounds great, that’s the magic for me.

I’ve heard songs with strong lyrics but weak melodies, or great melodies with shabby lyrics. But when I manage to balance both and feel satisfied with how they sit together, that’s the best part of the process.

Q: Looking ahead, are there dream collaborations or sonic directions you’re eager to explore now that you’re past the ‘Memorabilia’ era?
A: First of all, we’re not past the ‘Memorabilia’ era yet, it’s still ongoing. But in terms of dream collaborations, I’d say Jon Bellion and Sade, if she ever decided to return to music.

Q: What’s your favorite Sade song?
A: I’ll go with the crowd and say “Smooth Operator”. But honestly, I can’t pick just one. I consume her music a lot, both as a fan and as someone studying her career, and I love all of it. Same goes for Jon Bellion.

As for sonic direction, I’m still experimenting. I have a bunch of beats from different producers on my laptop—Afrobeats, House, Hip-Hop, R&B—and I plan to attempt them all.

The post Efue Talks ‘Memorabilia’, Bread, and Building Her Sound appeared first on Afromixx.

The first chapter of her journey into the music scene presents a naturally gifted yet emotionally wounded youth peeling back layers of bottled-up emotions—like in a therapy session or the pages of a personal diary—on her debut EP, ‘PHOENIX RISING: The EP’.

To a listener, ‘PHOENIX RISING: The EP’ paints a vivid portrait of MOSES’ emotionally distressing episodes while offering a glimpse of the strength she summoned during those moments, narrated through vulnerable melodies.

In this interview with Afromixx, she shares just how deeply she holds music to heart, not just as a means of escape but as a bridge to the divine. And how tints of spirituality, which shaped her formative years, richly spill into the five-track debut project—from the production to her delivery.

Let’s start from the roots. What was growing up in PH City like for you?

Yes, I grew up in PH City, but not in the posh areas. I grew up in Woji. The name may sound posh, but it wasn’t, not at the time.

When and how did music first enter your life? Was there a specific moment or memory that made you choose to do music?

Music came into my life at a relatively young age. I would come home stressed after a long day, and music became my outlet to let out all the pent-up emotions. I would just play beats and vibe.

MOSES is quite an unusual stage name, especially in today’s scene. Is there a symbolic or layered reason why you chose it as your professional identity?

Yes, there’s a reason. My great-grandfather was a very respected man; he brought the first Anglican church to Anambra State. His name was Moses, and so is my surname. I grew up in a Christian home, knowing the stories of Moses in the Bible, so I decided to keep the name. It’s prophetic to me.

What kind of music did you grow up listening to? Were there any artists or sounds that shaped the person you are today?

I grew up in a very Christian home, to the point where if I was caught listening to worldly music, I’d be made to read Psalms. But once I got a phone that I could browse with, I was able to download songs like Burna Boy’s and Omah Lay’s.

Congratulations again on your debut project ‘PHOENIX RISING: The EP’. The title alone evokes rebirth and transformation. Is there a specific story or period in your life that inspired that title?

Yes, ‘PHOENIX RISING: The EP’ is like a personal diary centred on past experiences and being reborn from them. Thanks to the gift of music, I’m no longer tethered to the pain.

Your debut project feels deeply personal. On “STORY O.M.L.” you sound like you’re shedding a lot of pain. Did you go through something intense during the writing of that song, and are we going to keep getting this level of vulnerability in your music?

I was, in fact, shedding a lot of pain, and the vulnerability in “STORY O.M.L.” is a narration of my struggles and bottled-up emotions from my teenage years up until now.

There are undertones of reggae throughout the project, especially on “HIGHLY SPIRITUAL”. Was that intentional, or just a natural extension of your influences?

I wouldn’t say it was intentional. I had written down the song before heading to the studio. Once I got there, I just delivered it how I felt.

When people press play on your music, what are some of the emotions or experiences you want them to leave with?

I want them to feel much better. I want them to listen to my music and know someone (me) relates to what they’re going through. I want people to think of my music when they’re in need of something that brings them relief.

‘PHOENIX RISING feels like an introduction into your world. Now that you’ve opened that door, what else should we expect from MOSES?

You can expect a lot more good songs. More good vibes too.

As a new artist with such an expressive first offering, how do you plan to grow your sound or stretch beyond it?

I intend to explore more genres with my sound and see how I can fit into as many as possible.

If you could collaborate with any artist, home or abroad, who’s on your radar?

Can I name more than one? Bloody Civilian, Burna Boy, Omah Lay.

Finally, what would success look like to you, not just career-wise, but personally and artistically?

Artistically, it’s when someone presses play and feels like I just told their story—like I reached into their silence and gave it sound. Personally, success would be peace and seeing the people I love happy and stress-free.

Stream Phoenix Rising: The EP and share your thoughts.

The post Exclusive Interview: MOSES is Carving Psalms from Pains appeared first on Afromixx.

Since 2019, he has been pursuing this endeavour, showcasing his music to a predominantly friend and family-focused audience. “I knew I wanted to do music at a very young age, and so I just began sharing my music with friends and family.” When he appeared on the screen for our Zoom call, FirstKlaz was in the back seat of a car driving down to the studio. He certainly didn’t look like someone who had just performed an intimate 80-person show, sharing both his released and unreleased songs in a visceral way the night before. With all the progress he’s  made since his debut in 2019, Afromixx was curious to know how he’s been enjoying his journey, what he’s been up to, what’s next for him as a fast-paced artist quickly making a name for himself in the music industry, and his plans to ultimately cement his status as a force to be reckoned with. Born Justice Esla Joseph, FirstKlaz was relaxed in the backseat of his car to the studio. He quickly divulged to Afromixx the creative process behind how his music comes together. He claims it’s a gift, emphasising that he doesn’t have any specific rituals or stimulants required before the creation of a song.

“I want everything I create to be organic, so I just flow with how I’m feeling at the moment. I have this gift where I do not need to take anything before connecting with my creative side. After developing an idea, I’m able to really zone in on that, and everything else falls in place along the way,” he explains with intermittent chuckles. However simple the answer may seem, Firstklaz’s authenticity is undeniable, and the distinctive appeal of his sound is irresistible. It’s the core incentive for a growing fanbase, which started with just friends and family constantly rooting for him. 

From his debut single in 2019 ‘Tonight,’ an Afro R&B record that showcased his signature mellow delivery on a minimalistic production to his 2024 breakout single, ‘Gen-Z Fuji’, Firstklaz explored diverse genres, borrowing elements and infusing it with a unique delivery pattern all while sticking to the essence of his mother genre, Afrobeats.  It was impossible to tell what his next release would sound like.

After the success of ‘Gen-Z Fuji’, which paved the way for ‘Gen-Z Faaji’ featuring Joeboy, the media began labelling FirstKlaz as a Neo-Fuji artist. However, that label faded rather quickly with the release of ‘Gen-Z Arewa’, a track that came together in a spontaneous burst of creativity, showcasing FirstKlaz’s undeniable brilliance as an artist. He highlighted that the music group with which he collaborated, Iliya Entertainment, is now family, hinting at future collaborations.  When asked if ‘Gen-Z Fuji’ shaped his perspective on the kind of artist he aspires to be, his response shed light on why each of his new releases carries a distinct sound.

“I’ve always known what I want to be, and I feel like every artist needs to understand who they want to be. It doesn’t have to be a guess. It has to be something you’re intentional about. And we grow; we evolve past our current stage, and at a time I feel like that will definitely happen.” But it appears Firstklaz isn’t well aware of the rapidity and spontaneity he evolves with, or perhaps he is, but only being humble. Hence,  he doesn’t view the success of ‘Gen-Z Fuji’ as a template for his future releases but instead considers it one of his many creative brainchildren. In his conversation with Afromixx, he elaborates on this perspective when asked about upcoming projects and what can be expected from him next, “Singles that I’ve already put out this year are singles from my forthcoming project. And what I’m trying to do with my project is create a nostalgic vibe, and nostalgia means something that has happened before but would like to relish all over again. That’s why the songs sound like they’re ‘old school,’ and when you listen to them, it triggers bits of nostalgia”. 

He also had a few things to say about the current sound state of the music industry. “To be honest, I feel like if everybody is doing the same thing, the music industry is not going to grow. From a musician’s standpoint, music is THE art, and you do not see a painter or an artist trying to recreate the popular painting of another painter. It’s best to create something from a personal depth that reflects whatever it is you’re going through in that moment. I make music that translates how I feel into sounds. Now, I can’t tell people if that’s the way to go, but personally, that’s how I approach my music; it is always organic. For instance, when I released Gen-Z Fuji, the trend was Amapiano, but Gen-Z Fuji is far from that. It doesn’t have log drums or the bounce Amapiano sound is characterised by.” Amid the surge of attention as a fast-rising artist, with endorsements from heavyweights like Olamide, Joeboy, Zlatan, and his long-time friend and colleague ODUMODUBLVCK, Afromixx sought to understand how he remains grounded despite the growing spotlight and the fast-paced nature of the industry.

 “I don’t like to see things from the whole industry perspective; I just try to do things in my own way. I’ve also had this thought and mindset stuck with me before everything that’s happening now, and that keeps me grounded. Because at the end of the day, we’re all humans and can get arrogant. But I wouldn’t treat people the way I would not like to be treated.” On balancing between personal growth and public expectations for his person and music, he explained that the way he is, is the way he acts when he’s out there working. “I’m an introvert,” he spills. But it felt difficult to reconcile this statement with the amount of work he puts into staying in the faces of his audience, and he gave a reason for that. “I just think it’s because of my dreams and how much I’m so into it. It’s to the point where I can do almost anything to see it happen. I could climb a moving trailer for it, literally. I can do anything to see it happen; basically, I just started adjusting to what was demanded and as things unfolded.“ With the conversation time now far spent, Afromixx was interested in knowing the legacy he intends to leave behind in the music industry. He took a few seconds and, upon clearing his throat, answered, “In 2022, someone told me that as an artist, you need to find a particular sound to stick to and create all the time. For example, if you’re a reggae artist, you have to stick to that all the time. But what I’m trying to do is make people see that you could be a reggae artist and do a R&B song; you could incorporate dancehall with jazz, folk, funk, jazz, and even rock. I want to break that box. I want people to understand that you can create anything you want to create. That’s it; that’s the legacy I want to leave behind.” He stresses that sticking to a particular sound stifles creativity with risks of turning out boring and repetitive. As we wrapped up the conversation, he desired that Afromixx conveyed a message to the music industry. Amusingly and with unmistakable confidence, he stated, “Brace up, una go hear wehh.”

The post FirstKlaz is Charting New Creative Paths with Gen-Z Soundscapes appeared first on Afromixx.

In this interview, He shared his journey—the ups and downs, the origin story of his recent release Feel Good, and his remarkable ability to bare his emotions through his art. He spoke with hope and much confidence about where he’s headed, inviting me into his world.

How did your environment Agege shape your desire for making music?

“You know how you’re from Agege, you’re exposed to certain things early, seeing things differently at a young age. Music was always there from a young age; I knew it was music I was going to do. Despite my strict upbringing—my dad was a pastor and disciplinarian—I found ways to sneak out, fall in love with the lifestyle outside, and make music. I knew I was going to do music, but I had to finish my education first.”

Given that strong musical inclination, what musical influences did you grow up on?

“I grew up on a lot of Tuface—respect to 2Baba—and Wande Coal. Wande Coal, especially, is like the biggest part of my journey. Wizkid too. I feel like Wande Coal has to be an influence in your career as an artist. My dad and aunties listened to a lot of Michael Jackson, and by extension, I did too.”

Your debut single, ‘Fire Can’t Cool,’ really stood out for its raw passion and soul; it almost felt like you were prophesying. What was your mindset when you created that song?

“When I dropped Fire Can’t Cool in 2019, I was in my 200 level at FUNAAB, and at that point in my life, I could see what I was meant to do. I had the vision mapped out, I wasn’t just prophesying; it was clear to me, and I knew it was going to happen.”

With that strong sense of vision early on, how has your sound evolved since then, and what reflections of your journey are found in your newer projects?

“So, um, recently I try to infuse a lot of my street cred and experiences into my music, and my sound has evolved to reflect just that. In the past, I’ve really been connected to the love aspect of my life. Like when I dropped Beautiful Lies in 2023, it was a moment of those emotions, focusing on love and relationships, and I wanted to pass that on to listeners, but right now, I feel like with my new release Feel Good, I’m baring myself and showing a more vulnerable side. It’s about rediscovery and staying true to who I am. And as long as people connect with that, that’s good enough.” 

Speaking of making connections, your covers of Wizkid’s “Ginger” and Davido’s “Jowo” went viral in 2020. How did that moment affect your growth as an artist?

“Those years I used to do a lot of covers, and it wasn’t because I hadn’t figured out my sound but because I was still in the process of trying to discover myself. And to see that people connected with my idea and execution on a song gave me so much confidence. Right now, I don’t really do a lot of covers, I just focus on my own music, and if perhaps I decide to do a cover, it’s because I genuinely like the song. Now, I’m working on my sound, and it’s been a really great experience so far.”

What’s your process like when creating music that resonates emotionally with your audience? Do you draw from personal experiences, or is it a more creative, imaginative process?

“Sometimes there’s imagination in my music, but most times, my music is from a place of personal experiences or drawn from experiences of people surrounding me. So when it gets to the point of creating and I’m in the zone, I combine all of that and channel it into the music.”

With your new single, ‘Feel Good,’ you’ve delivered a sound that lets people dance through their pain. Is there a deeper story behind the song?

“Yeah, there’s a backstory, from past experiences, actually. It comes from a tough period last year before I dropped “Beautiful Lies” in 2023. I had issues with my former label, which disrupted my life in unexpected ways. And that’s the origin story of ‘Feel Good.’ It’s a song about rediscovery and reaffirming who I am without letting that experience define me.”

How do you stay grounded and maintain your creative energy despite the challenges?

“I can’t let that hold me down. I believe that life is a process; there is a reason for everything, and I can’t let that hold me down. My beauty is in the melodies I create; it’s in the soul of my music. If I start getting bothered about those things, I’d lose my essence.”

Social media played, particularly TikTok and Instagram, has been a big part in getting your covers out there and your music generally. How do you approach these platforms as tools for growing your career, and do you see them influencing how you create music?

“Hmm. Nah. I don’t see them influencing how I create music, but at the same time, it’s a tool you have to use to connect with people, do you understand? I don’t let them influence my creative decisions, and I still don’t understand tags like ‘Tik Tok’ music. I make music based on how I feel, and if people connect, they connect. I’m not trying to please anybody when making my music, to be honest, I don’t create music just to go viral on TikTok. And I believe that should be the same for every other artist. Social media is a tool, and we as artists have to always find a way to utilise it. 

Your music typically blends soulful melodies with a layered, intense energy. How would you personally define your sound?

So personally, I would say I do Afro-fusion. And the reason is because when you listen to my music, you’ll hear elements of Afro and the fusion of other elements. I have songs like ‘Next To Me’ an Afro-R&B/Trap record, ‘Damaged’ another Afro-R&B cut, ‘Beautiful Lies’ is Afropop, ‘My Fault’ which is another Afropop record, and there’s ‘Fire Can’t Cool’ that’s Afro-R&B. I have different dimensions to my music, and I really don’t like to box myself into one genre, but I believe Afro-fusion is an umbrella term for the many elements you find in my music.

Are there any exciting collaborations we should look forward to on your forthcoming project?

“I don’t really want to spill too much tea, but there are some features on my forthcoming project with artists I respect, and I can’t wait for you guys to hear it. 

Would that be dropping anytime soon? 

Yes, yes. Very soon. Working on it.

That sounds exciting! With your growing fanbase, where do you see yourself and your music in the next few years? 

In the next few years…I believe my music, and it’s not even about “believe,”  it’s from my stats and the feedback I’ve gotten. I believe my music is very global, it attracts global audiences, and very soon my music is going to take me places that are way beyond my imagination. And that is touring the world, from London to the United States, and I know for sure God is going to take me beyond that imagination. 

Lastly, platforms like Afromixx are designed to uplift artists like yourself who are just beginning to get their footing in the industry. How important do you think these platforms are for artists in your position?

Yeah, no, I think it’s great! I think it’s very important. I think it’s amazing that you guys are doing this, because there’s a lot of amazing artists that are doing great and they’re not being heard or talked about. It’s just amazing that you guys are doing this, and I respect it so much. Kudos to you guys. 

Stream Runda’s 2023 EP ‘Beautiful Lies‘ below.

The post Runda Unveiled: The Soul Behind the Melodies, Struggles, and Triumphs of a Rising Afro-Fusion Star appeared first on Afromixx.

I would like to know what growing up was like for you.

Growing up wasn’t boring but also not interesting as I would have preferred with the benefit of hindsight lol. It was just me and my mom. I lost my dad at a very young age, and you know, I had to be very responsible because I was the only child, and there was no option of me getting a sibling. I had to do a lot of stuff myself, and my mom did really great in terms of being a mother and stepping into the role of a father. 

I’m so sorry, Axara. Being an only child, your mom must have been really protective of you, correct?

Oh yes. *laughs* She still is.

Have you always wanted to become a DJ? What inspired you to pursue DJing?

I’ve always loved music since secondary school, but I never thought about DJing in particular. Back then, I used to be the one they called to sing and drum on our lockers and cupboards in boarding school, in the hostel, or in class. When I got into university, I met my best friend, who casually suggested that I start DJing. I downloaded Virtual DJ and started trying to learn. My best friend, TinyBraz (God bless her), went back for holidays one time, learned properly, and taught me.

And how does mom feel about you being a DJ? 

Truthfully, my mom doesn’t entertain the idea of me being a DJ at all. My mum is 100 percent protective and feels that this career path is very rough but she’s gradually easing into the idea of me being a DJ. 

Haha. So, is Axara like a stage name?

Yeah. Axara is a stage name. I got it from the series “Lucifer.” Before then, I used to go by another name that I would rather not mention. *laughs*

Tell! I promise it won’t be mentioned in the interview.

*laughs* It was DJ Beast.

Haha, the irony. You look nothing like the name. 

*laughs* I know. That was the point of the name

Do you ever get nervous before a set? If so, how do you handle it?

Yes, I do. Especially with bigger gigs. Most times, I get nervous some days leading up to the gig and some minutes into it. But once I start and get into it, I relax. A compliment from someone enjoying the music or the event organizer, seeing the audience vibing and a shot of something nice (if you know what I mean) also helps.

Off the top of your head, can you name some of the brands you’ve worked for?

WeTalkSound, 234RnB, Obi’s House , Whiskey With The Girls, Unheard, Palmwine Fest, Hause Fellowship, Amapiano Left & Right, The Awakening, Raveolution, Rooftop Riddim, LSTN w Minji, Love and Riddims, Chibyverse.

That’s so cool. What has been your most memorable gig so far, and why was it special?

I have a couple, but my most memorable gig so far would be Insert Nights (Nexus). I think I did a great job that night. People really vibed to my sound, and the energy was litttt!

Interesting. What’s it like to be a female DJ in Nigeria?

Being a female DJ in Nigeria is such a cool experience. Once upon a time, my response would have been different because when I started out, it was tough, but right now, I’m really enjoying being a DJ. Right now, I’m just taking all the opportunities that come my way and making sure that I slay every set.

Oh, that’s good to know. I used to hear tales of sexism and all. That’s never occurred with you?

Oh it did… when I first started out, because I was a female DJ, some people didn’t trust that I could handle shows properly. Some male colleagues felt like I was just doing this for fun and never took me seriously. A couple people even doubted that I could DJ properly. Sexism probably still exists in this industry but it’s big 2024 and there are a lot more badass female DJs.

What activities do you enjoy outside of DJing?

For fun, you mean? If yes, I love to listen to music. I also enjoy partying a lot. Reading books, and scrolling through Pinterest has also recently become an activity that I enjoy *laughs* ifykyk.

Partying is like your job, though. What’s a typical weekend like for you?

A typical weekend starts out with a gig on Friday night. Moves on to either an outing or another gig on Saturday night and then rests on Sundays (sometimes) as well as resetting myself for the start of work on Monday. Some weekends are calmer and some are crazy. I prefer them crazy. *laughs*

Would you say you’re where you wanted to be five years ago?

When I really count my blessings, honestly, yeah.

Deep. Where do you see yourself in 5 years?

In the next five years, I will be on a tour, just like Waffles is doing right now. Well known for shutting down parties in Nigeria and across the world while making the right amount of money from doing that. I will also be a well trusted and respected source in the music space.

Uncle waffles? It sounds like you admire her. What other DJs do you admire?

I love Waffles. She’s killing it, and so is Dope Caesar. Amazing DJ. I admire a lot of DJs, and I can’t mention all of them, so I’ll just mention a few: Shimza, DJ Consequence, Larizzle, Uncle Bubu, DJ Camron, and DJ Nana.

What’s your take on the expression “never meet your heroes”? Have you met any of yours?

I get that it might be disappointing when you already have a certain expectation for someone and they don’t match it when you finally meet them in real life, but these “heroes” are humans at the end of the day. So far, meeting my “heroes” hasn’t been a bad experience for me. They always turn out to be very chill and ready to share knowledge, and in this category, I’d like to shout out to Dope Caesar and Godwin Tom. They understand this ‘hero’ assignment really well. *giggles*.

What’s your relationship like with Dope Ceaser? Are you besties?

Oh, we’re not. I was privileged to be a part of a music Bootcamp Femme Fest organized sometime last year, and that’s where I met her. Ever since then, she’s been warm and very supportive. Always ready to share knowledge and answers to any questions I have.

Are there times when you feel like quitting?

Oh, I felt like quitting so many times in the first 5 years of my career. Those thoughts don’t come anymore. Now I know that I’m destined for greatness.

What keeps you going?

My dreams, tbh. Everything I want to achieve in my DJ career. Seeing what other DJs are achieving also inspires me to put in more work.

If you wanted to have a crowd turnt up, what music would you play?

Hmmm. It depends on the crowd, to be honest. But my picks are: Oblee by DJ YK Mule, Shake Shake by Caiiro, Apala Disco remix by DJ Tunez, Seyi Vibez, Wizkid, Terry Apala, Not Like Us by Kendrick Lamar and finally, Hello Africa Riddim by Sarz, Dr Alban and just recently, Ozeba by Rema.

Pick your poison.

Do you have a favorite food?

At the moment, I really f*ck with toasted bread and eggs. I could eat it anytime, anywhere.

Haha. How about a favorite color?

I love black.

What’s the most meaningful compliment a fan has given you after performing a set?

Every compliment I get after a set, or when someone recognizes me, is very meaningful to me. I’m particularly in love with the people who immediately book me for a gig on the spot or introduce me to someone else who does. That tells me that you were truly impressed by me.

What advice would you give to someone considering a career in DJing?

Take time to learn the skill properly.  Make sure you enjoy yourself while doing this. Stay grounded. Be open to collaboration, especially with other DJs.

The post From Cupboard Beats to Crowd Control; Afromixx interviews Axara The DJ appeared first on Afromixx.