Cruel Santino is a shapeshifter. Emerging over a decade ago with the eclectic ‘Diaries Of A Loner’ mixtape series, the enigmatic rapper and singer has continually reinvented himself, drawing on a myriad of influences that range from Hideo Kojima’s legendary video games to veteran rapper 2shotz. 

Words don’t do Santino’s fluid music justice, you’re better off just pressing play. That’s the only way to truly experience the breathless flows and numerous anime or movie references he can load into a minute detail, like a floor-model television; it’s also the only way to find yourself unabashedly screaming: “I had to run! I had to run! ” even when there’s no cause for alarm. This unconventional approach to making music that’s replete with local and foreign influences has helped Santino subvert expectations and existing industry structures at every turn in his accomplished career while creating unique and storied records that have garnered cult acclaim and have also found expression on multiple live stages, dorm rooms and moshpits. 

After a brief hiatus following 2023’s delightful ‘Cincinnati Pumpin!!’ that looked to augment the eerie and ever-expanding Subaru Boys universe, the talented Edo native recently graced the Art X Live! stage for its ninth edition alongside others like S-Smart, Aniko, and Fuji legend Adewale Ayuba. The annual show’s latest edition looked to offer a mix of genre-bending sounds and styles from both visual artists and musicians like Santi who delivered a memorable set that included cult classics like “Sparky,” and “Rapid Fire” as well as deep cuts like “TAPENGA” from the thematic ‘Subaru Boys: FINAL HEAVEN.’ He was also joined onstage by fellow alte star Boj who assisted him in performing their new duet “Borderline” before closing out with a couple of more fan favourites. 

Shortly before taking the Art X Live! stage, we caught up with the talented singer and rapper for a quick conversation about live performances, his music-making process and the influence of indigenous music on his ever-evolving sound. 

View this post on Instagram

A post shared by ART X Lagos (@artxlagos)

This your first time going on stage since when? 

Shit. Since December last year.

How does it feel like to be going onstage again after almost a year away?

Honestly, it’s nerve-wracking. I took a break this year to work on a genuine piece of media that I’ve never worked on before. I’m talking about the manga that I just made. I tried to finish it this year. All my life I’ve wanted to make films and just something else aside from music. But yeah, it’s always nerve-wracking when you are coming back onstage for the first time in a while. Especially for someone like me who is always in his house, seeing so many people can be a little stressful but yeah, it’s my job.

How do you think you’ve been able to deal with the nerves over the years?

So the thing is I wear glasses, so I don’t see when I’m on stage. I think that’s the best thing honestly. If I could see, I’d be focusing on too many things. Not being able to see much of what is going on helps me be present and just be myself. 

Do you have any favourite memories from performing on stage? 

I feel like that was Paris. Everything about my Paris show was insane. It felt like I was with every Santi fan in the world. It didn’t matter what I did, everyone loved it. It was fucking crazy. 

Still speaking about live shows, do you think they affect your music-making process in any way? Do you think of how your songs will translate live while creating them?

Oh yeah, for sure. In the past year, I think I started experimenting more with live music. Also, I think in the scope of where my mind is right now, a lot of my songs are kind of indie and they’ll be great live. When I make a song, I definitely think of how it will sound live. Right now, I’m even trying to build a band with like two girls who could have background vocals but for all the crazy stuff that I say sometimes. 

This year’s ART X Live! looked to connect the dots between the past and present sounds of Nigeria. How much of an influence do you think these indigenous sounds have on your ever-evolving sound? 

First off, I think homegrown music is the foundation of my music. I don’t think I’ll be able to make anything if not for that. It’s crazy because I know a lot of people think my music has more foreign influences. The thing is, foundationally, I’m brought up on all the sounds and songs that a lot of us grew up listening to. But also, I have a distinct thirst for music in general and I just want to hear different stuff. I wake up every day thinking what is this new thing I can make? In fact, I think right now, a lot of the stuff I’m making is heavily influenced by local music. It’s deeply rooted in the Mo’Hits, 2shotz, BigLo, Sauce Kid, Naeto C era. 

The thing is, some people might see this as nostalgia but then I play it for some of my younger friends and they have no idea where some of the influences come from. What’s crazier is that no one has progressed these sounds or tried something new with them. 

Speaking of progressing sounds, is that what the goal is generally with your music?

I’m not gonna lie to you, the reason why I don’t make the same thing is because progression is all that matters to me. It’s a gift and a curse but I don’t care about anything else. It’s like making a film. Your new film has to be better than your last film but it shouldn’t be the same thing you made before. Music is like the same thing to me.