Despite growing up miles away from Lagos, DeeYasso never felt limited by the popular sentiment that success in music could only happen in the south-western city. The Taraba-born producer always believed that the right opportunities would eventually find him if his music was good enough. His love for music took root early on, nurtured by a chorister father and the support of his church and school,  all of which eventually led him to pursue a career in music production in 2006.

Deeyasso gradually built his profile as a resident producer at his school and churches, collaborating with local and surrounding bands around Taraba. In 2016, DeeYasso suffered a major blow when his hard drive containing unreleased works with artists like Kizz Daniel, Jesse Jagz, and Danfo Drivers was stolen. Then in 2017, he missed a significant opportunity with Mavin Records as he suffered creative slump following his mother’s passing. But 2018 marked a turning point: Chike reached out for a collaboration that has since led to three albums, one of which, ‘Boo of the Boolesss,’ propelled Chike into a different stratosphere, and became widely acclaimed as a contemporary Nigerian classic.

From that moment on, DeeYasso’s sound, which blends African influences with global elements, began to resonate with a wider audience. With hits like “Intoxycated” by Oxlade and Dave and “Egwu” by Chike and Mohbad, DeeYasso has become a household name. Whether working with emerging talents like Mr. Dutch, or producing hits for industry veterans like  “Tomorrow” by Yemi Alade, which earned him a 2025 Grammy nomination, DeeYasso constantly ups the ante by drawing from diverse genres. “While songs like “Roju” feel like Igbo Highlife, they also incorporate elements from Congolese, Cameroonian, and Ivorian music. “That diversity comes from my background playing live music with people from different parts of Africa,” he explains.

From his early days experimenting with music in Taraba to finding global validation for his work, DeeYasso reflects on his creative process, his journey to Grammy recognition, and his will to keep making a statement.

Your roots are in Taraba. Can you tell us what growing up there was like and how it shaped your passion for music production?

Growing up in Taraba was incredibly formative. Music was always around me – my dad sang in the church choir, and he was one of my biggest influences. He supported me in every way, which made all the difference. When my church discovered I could play instruments like the drums, piano, and guitar, they went 6all out and bought every instrument I needed.

Even my secondary school encouraged me when they saw that people from town would pay me to play. They bought instruments too, so I could perform on campus. These seemingly small gestures built my musical foundation. By the time I started producing music, my dad let me turn our boys’ quarters into a studio. It was right opposite his bedroom, and I’d play music from morning till dawn, disturbing the whole neighborhood. But my dad never complained. He only checked to make sure we were safe before going back to sleep.

I never felt limited in any way, not even by school. In fact, I graduated as one of the best students in my class. Today, I’m proud to say that I’m also a lawyer.

At what point did you realize music production wasn’t just a hobby but your true calling?

Honestly, from the very first moment. I remember the first time I saw a drum set, I literally shivered. I’m not exaggerating. I couldn’t sleep that night; I kept thinking about it. The next day, I went back to that church, touched the drums, and begged the drummer to teach me. It felt like something in me had been waiting for that spark.

Within two weeks, I was playing drums well enough to impress everyone in my church. A year later, I entered a competition and won a drum set. That was when I knew this wasn’t just a passing interest, it was in my blood.

Many believe you have to be in Lagos to make it in Nigeria’s music industry. Did you feel that pressure residing in Taraba?

Never. I believed that if I created the right material, Lagos would eventually call me and it did. I remember in 2016, I was working on sessions with several artists, including Kizz Daniel, Mr. 2Kay, Jesse Jagz, JOEL, and Danfo Drivers. Unfortunately, after those sessions, my hard drive was stolen, and I lost all the work. It was devastating because I couldn’t deliver their projects. 

In 2017, Mavin Records reached out through Tega (Oghenejobo), but I wasn’t in the right headspace to engage with them because I had just lost my mom. They contacted me two weeks after her passing, and I couldn’t even hold proper conversations at the time. It was a missed opportunity, and I felt terrible.

But in 2018, things took a turn. Out of nowhere, Chike sent me a DM on Instagram saying, “Yo, I’ve been following your sound and seeing your tags. Can you come to Lagos? Let’s work.” I told him, “If you can book my flight and accommodation, and feed me while I’m there, I’m in.” He agreed without hesitation, sent me the money, and the next week, I was in Lagos.

From what started as one or two songs, Chike and I have ended up making three albums together. Beyond that, I’ve worked on albums with Ric Hassani and produced major tracks for artists like Oxlade and many others. I always told myself that when Lagos called, I’d walk in with my shoulders high, ready to dominate and that’s exactly what happened. 

What was it like putting together Chike’s breakout debut album ‘Boo of the Booless’?

A lot of the Highlife on that album isn’t strictly “Igbo” Highlife – it’s African Highlife. You can hear influences from Congo, Côte d’Ivoire, and Cameroon throughout. Between 2006 and 2009, I was actively playing live music with bands, often performing Makossa with musicians from Cameroon, Congo, and other parts of Africa. I played as a lead guitarist, bassist, or drummer, depending on what was needed.

Working with them broadened my musical perspective and exposed me to diverse sounds and rhythms. Over time, those influences became a natural part of my style, which made it easy to combine these elements into the music. While there are traces of Igbo Highlife in ‘Boo of the Booless,’ tracks like “Roju” possess a more contemporary fusion, blending traditional African elements with something fresh and unique. It’s all about creating something that feels timeless yet modern.

Your sound is also behind some of Nigeria’s big records, from “Intoxycated” by Oxlade and Dave to Ric Hassani’s “Thunder Fire You.” How would you describe your style as a producer?

It’s hard to define because I don’t like to be boxed in. I create fusions – blending sounds and influences from everywhere. When we worked on Chike’s ‘Boo of the Booless,’ people thought I was just a Highlife or Alternative producer. But as my work evolved, the perception kept changing.

Take “Roju” for example. While it feels like Igbo Highlife, it also has elements from Congolese, Cameroonian, and Ivorian music. That diversity comes from my background playing live music with people from different parts of Africa. I’m very, very musical.

What’s your approach when working with an artist on a new project?

It always starts with a conversation. I want to understand their vision and where they’re coming from. Some artists trust me to take the lead – they say, “You’ve heard my past records, so do your thing.” That freedom makes the process exciting.

Other times, it’s more collaborative. They bring ideas, I bring mine, and we find ways to spin everything into something fresh. Usually, we start by vibing, whether with guitars, pianos, or beats. It’s always about finding the magic together.

Let’s talk about “Tomorrow” by Yemi Alade. It earned you your first Grammy nomination. What was it like creating that track?

That session was special. It was my first time working with Yemi Alade. We recorded four songs that day, but when we started writing “Tomorrow,” we all felt something different.

I created the instrumental on the spot, and we built the song in her camp with a team of writers. Yemi brought some lines, I brought some, and the writers added theirs. After recording, I decided to make it even more African by adding choir arrangements and chants at the beginning and end. When the Grammy nomination came, it wasn’t a shock. We knew the song was good. The nomination just confirmed what we felt all along.

“Egwu” by Chike and Mohbad also became one of the biggest songs of 2024. What was it like working on that track with both artists?

“Egwu” wasn’t even planned! We were wrapping up a different session when I called Chike and Mohbad back at 2 a.m. and played them an instrumental I’d been sitting on.

Chike started chanting what you hear at the beginning, and we both worked on the backup vocals. Mohbad wrote his verse in less than 15 minutes, and his arrangement ideas took the song to another level. We finished it in one session. Mohbad even told Chike, “Na the main gbedu be this o!” and he wasn’t wrong. May his soul rest in peace.

Has any song ever pushed you creatively more than you expected?

Ric Hassani’s album ‘The Prince I Became’ really challenged me. Ric is a perfectionist. Some songs were recorded over ten times just to get the right emotion. It was intense, but it taught me patience and how to bring out the best in a project.

Now that you’re a Grammy-nominated producer, what does this milestone mean for you and your journey? When I make music, I try not to set huge expectations to avoid frustrating myself. My focus is always on creating something good, something timeless. Whether the song becomes a hit immediately or not, I trust its quality and believe it could resonate at any time in the future.

So, the Grammy nomination wasn’t a shock to me. From the moment we created “Tomorrow,” we knew it was a great song. The nomination was simply a confirmation of what we already felt and it reaffirmed that our work was exceptional and caught the attention it deserved.

I’ve always believed my music has the potential to go global because I’m intentional about making good music. Sometimes, a song might not blow up right away, but I trust that when the time is right, it will find its moment.

Take “Umbrella” by Nasboi and Wande Coal, for example. It was initially part of an EP, but I fought to have it released as a single because I had a strong feeling about its potential. Seeing how viral it went proved that trusting your instincts and focusing on quality always pays off.