The driving force behind Tems’ inspiringingly firm sense of style is Dunsin Wright, a Nigerian stylist and expert who is the Nigerian singer and producer’s close friend and collaborator.
“I actually met someone on her team a couple of years ago, maybe two years ago,” Dunsin tells the NATIVE about the fated meeting. “At the time, [styling] was meant to be more of a side thing. Then I met someone on the team who had seen my work and he just pitched me. I guess Tems must have liked my work because then they sent me a mood board.” Having grown up in Lagos in the 1990s, she developed an affinity for home-grown luxury brands and had her first gig in the game with the global artisan, Lisa Folawiyo. “I think working in Lagos and with a female led brand definitely informed my idea of what was even possible,” she recalls of the experience.
Now, Wright is the in-house stylist for the Grammy and BET award winning artist, Tems and forms a core part of Tems’ small yet undeniably well-oiled machine. In such a short time, both Tems and Wright have embarked on an awe-inspiring trajectory that has birthed the global star a polished and sleek image direction. Working as Tems’ right hand, Dunsin ensures she looks breathtaking for all these moments. From her baby blue Brielle moment for the Global Citizen Festival to the ethereal custom Vivienne Westwood piece donned at the Grammys earlier this year, Wright is crafting and redefining the singer and producer’s entire wardrobe, one awe-inspiring look at a time.
Off the back of the 2023 MET Gala, the NATIVE sits down with the stylist to discuss her entry into the fashion industry, working with Tems, her creative process and much more.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: Hi Dunsin, thanks for joining me on this call. Can you talk about your first introduction to fashion?
Dunsin: I would say that I was very heavily influenced by my mom. From when we were children, my mom was always super intentional, very creative and always made me think or see fashion from different lenses. It was very intertwined with my idea of self-expression. I think I always admired that creativity and it’s something that has informed the way I look at clothes and style to this day. From a career standpoint, I never really looked at it as something I would go into professionally. It was just always very fun for me. After I graduated from university, I wasn’t loving some of the jobs that I tried to get into. I was going for something more corporate, but I just never really had a lot of fun doing it. I decided to get some experience in the fashion industry and started off working fashion PR in London. From there, I met the clothing designer, Lisa Folawiyo. I moved back to Lagos and I started running her comms and marketing.
So you had the opportunity to understand the fashion industry on a closer level.
Yeah, I had a lot more time to build experience and grow my contacts as well then I pivoted into styling and creative direction. That’s really it.
What are some of your early fashion inspirations?
One of the biggest ones was my mom and older sister. I would say now it’s kind of everything and everyone, down to people on the street. I always say that I really love and appreciate street style especially in Lagos and London. Right now, I would say it’s a bit of everything. I can’t really pinpoint it to one person. I also love old music videos and fashion shows. Some independent designers here and there. So yeah, I would say it’s a mix of everything right now.
As a young Nigerian woman, how were you able to chase your creative passions and get into that industry? You already mentioned working with Lisa Folawiyo, do you think working with a woman influenced your journey?
I think pursuing my creative career was not easy at first because there was a social stigma attached to it. When I was growing up and even within my family, it wasn’t looked at as a lucrative career. Everyone was encouraged to study a more serious subject and fashion was not that at the time. It wasn’t easy at first but I was invested. I knew I’d really be denying myself of who I really am if I didn’t pursue this. I think working in Lagos and with a female led brand definitely informed my idea of what was even possible. Working with someone as strong as Lisa, who has so much respect in her industry, really paved a way for other fashion designers. It changed the way I looked at everything. I just realised that as long as you’re able to work hard and put as much effort in your work, it will always speak for you. It definitely informed the way I look at my work and possibilities.
“All the women doing those amazing things are the reason younger girls have people to look up to. I’m really not limited. That’s why they say representation is important.”
How would you define your style now?
I think I am a lot more comfortable in my skin. I speak to so many designers everyday and I’m taking in a lot more fashion and style than I would ever have. I think that has translated into me being a lot more comfortable and I know my style a lot better. Now I gravitate towards things that feel like me. I connect with pieces a lot more. I feel like I have a wardrobe that is more reflective of my personality. I found that before, I’d probably look for clothing in a limited amount of places. I don’t think it’s possible to really have clothes that reflect all the different sides of you if you’re looking in limited spaces. And so now, whether it’s from markets and labels to thrift stores, to Depop or more high end clothing, I think being able to understand style from that space has allowed me to build on what reflects the different sides of my personality.
Let’s talk about Tems. How did both of you meet and how did you decide that this is something that you wanted to do with her? How did you guys hit it off?
I actually met someone on her team a couple of years ago, maybe two years ago. They were trying to put together a press shoot. At the time, I was working with Lisa, and I had just styled my first shoot with BOJ and Davido. So it was something I was starting to consider. I had also done some work for Lagos Fashion Week with NATIVE and Momo Fashion. I co-styled that shoot and I was just starting to consider styling. At the time, [styling] was meant to be more of a side thing. Then I met someone on the team who had seen my work and he just pitched me. I guess Tems must have liked my work because then they sent me a mood board. I got some clothes together. I actually got a lot of custom pieces made at the time with Lisa which was also very helpful.
We had to shoot and I think what stood out to her at the time was how well the clothes actually fit. It was rare for her at the time because a number of clothes didn’t tailor to her proportions. As African women, you’d know it’s sometimes hard to find people that cater to our body type specifically. I think that’s something that Lisa Folawiyo is able to do quite well. That experience directly impacted my next experience, my next chapter. We really just had a great time. I think that was probably the most fun I had from a shoot. It was chill. It was very easy. At the time, I didn’t have a single approach to these things. It was on a job to job basis. I think later, they were about to go on tour or for a couple of shows and they came back to me. We just kind of fell in love from there. It was very easy, very organic.
I see you and Tems have very unique and different styles. How are you both able to marry your creative ideas to pull together amazing looks?
I think that because of the nature of our relationship. We’re pretty close and we’ve built a lot of trust in each other. When pieces speak to me, it’s easy to translate that into something she’ll like because we spend so much time together. She’s quite vocal about things that she does or doesn’t like as well. I think as a stylist that’s one of the most important skills; to understand each person that you work with. Understand their creative vision and see things outside of yourself. I think the key thing here is probably just the trust, the relationship and the friendship that we have. I actually would say that it’s not as different as it may come across. The way we put things together will probably be quite different but in terms of the foundation, the sorts of pieces that we both gravitate to, I would say there’s a lot more similarity than you may think. So regarding that, it’s actually pretty easy. It’s pretty seamless.
What message would you say you’re trying to pass across in Tems’ look as she crosses over from the Nigerian audience to a worldwide audience?
My approach was studying her as opposed to passing across any strong political messages. I say political because I think in recent times, a lot of people have probably thought that was the goal. I would say that it’s really not. My approach to styling her and working with her is really just wanting her to feel the best in what we’re putting together. It’s wanting her to feel the most confident in every piece. I think in my work, generally, I just want women to feel their most confident and beautiful. From day one, I’ve always reminded myself it can’t be about what people think, you know? It has to really start with self because that will translate most naturally. She has things that she loves based on her body type or background. Like is said earlier, it’s about letting the young girls everywhere know, you can actually take up these spaces completely being yourself. I think with the age of the internet, it is not uncommon to receive that kind of backlash when you’re being daring and confident, especially as a black woman.
What would you say takes precedence for you working with Tems: style or comfort?
Definitely what she’s comfortable in. I could have a vision for something that I think would be amazing but if she doesn’t feel good or doesn’t feel herself, that will translate. It won’t even allow her to wear the piece in the way that it’s supposed to be worn. So yeah, it comes back to comfort. Of course, the looks are important but there’s also everything else including beauty.
What’s this selection process like for the beauty and glam teams that you work with?
I mean naturally you look at people’s previous work, that’s one thing. The next thing is definitely their attitude I think. With everyone that we work with, the reason I work so well is because of the personalities we all have. So I think that’s definitely the next thing. For choosing the actual looks, we decide on the pieces first and what sort of vibe we’re going for. This could be a range of things. Based on the outfit, we then decide what sort of look we’re trying to create. We’ve been pretty lucky. In each city, we’ve worked with hair and makeup artists that are local and we’ve had some really amazing talent. They always bring in their own touch to whatever vibe we’re trying to create so that’s been really good.
How does your creative vision differ depending on the artist that you’re working with? How do you manage to keep those two visions separate?
It’s really just trying to get clothes outside of myself or jump out at me for my own style. What’s also quite special is that the people that I’ve worked with, I think there is some part of me that resonated with them and vice versa. It’s important to me to work with people that I also appreciate their style in a way, or they appreciate mine. I feel like if I’m working with the wrong people, then we might not be able to make some things work. But yes, building references out of film or music videos, cartoons, runways or anywhere. So it’s about reaching into whatever mood or collections started building. You know there might be some similarities, some crossovers but you find yourself building completely new collections or references for each person. Each person that I work with as well is willing to experiment. Again, there has been a lot of trust for them to let you work. I think again each process is with each project is quite different.
How do you feel about taking risks in your fashion? Are there any that you’ve taken that haven’t paid off?
I think it really takes out the fun if you’re not taking risks. For me, I feel like what even really constitutes a risk? it’s like, okay, you were just confident and did what you wanted to. It doesn’t really cross my mind that this could be a risk. It’s like, yeah, this may have a reaction, but ok. Yeah this could cause a conversation and I think that’s a good thing. As long as you’re not doing anything offensive. I guess everybody’s idea of what is offensive is different. But I think if you’re not harming anyone or not putting any messages of hate or whatever, then I personally think you’re good. People may not think that but whatever.
You had an exhibition 2121 last year, how was this experience like?
That was my first exhibition. I had wanted to do it for a while before I actually got a chance to do it. The first time I wanted to, we entered into the lockdown. Last year just felt like the perfect time. It was very heavily influenced by my love of film and the way my love of film had influenced my love of fashion and sort of trying to marry the two worlds. It was about putting together ideas of what fashion in the future would look like.
It was very important for me to put those things together, to get the people – African creators – in a space to dream bigger than what is right in front of us, especially when things seem bleaker than ever in Nigeria. It’s like giving everyone that space to keep dreaming because if you can’t dream, then you’re never gonna get out of reality. I asked different fashion designers to create according to what they feel fashion will look like in 100 years from now. I also wanted my audience to come dressed in their own interpretation of that. Even with the music that we had, the DJ created a playlist with her idea of music or artists that represent the future of music.
What can we expect from you this year, if there’s anything you can tell us?
Definitely more activations to do like 2121. I’m working on a few exciting projects, starting with creative direction and potentially directing music videos.
“I know how to speak to women and I know what they care
For many viewers, Amazon Prime’s After 30 will register as the latest sexy Lagos-based romance to hit...
For many viewers, Amazon Prime’s After 30 will register as the latest sexy Lagos-based romance to hit streaming services, and one that gives a fresh voice (and look) to that beloved four-girls-just-trying-to-survive-in-a-big-city motif. But for the film’s director, Momo Spaine, and the legions of fans who have been clamoring for a follow-up to the original series that the film is based on, this project has been a long time coming.
Spaine first cut her teeth in filmmaking on After 30’s predecessor, Before 30. Released in 2016, Before 30 was a series that followed the love lives of four young women navigating the well-known, uniquely Nigerian pressures to settle down and get married before they hit 30. Now, armed with nearly a decade’s worth of experience and a sweet Amazon production budget, Spaine has brought the four women’s stories to the big screen, picking up eight years after viewers last saw them. And while there’s no shortage of stories about women navigating love and career life in Nigeria — think hit series like Unmarried, Smart Money Woman and Skinny girl in transit — Spaine brings an attention to detail that radiates as you watch its four lead actresses, Dami Adegbite, Beverly Naya, Ane Ocha and Meg Otanwa, reprise their starring roles.
From carefully curated color palettes to meticulous costume design to hair and makeup, the pages of sketches and decks that Spaine shows me on our late-May Zoom call are nothing short of a creative shrine to a very personal story. “I had hours of conversations with my [director of photography] and with our makeup artist, Lillian,” she says. “Talking about [things like] light reflecting makeup, what kind of underpainting we’re doing under the foundation so that when the light hits their skin it just glows and pops.”
Spaine’s filmmaking journey began when she was attending university in South Africa in the early 2010s. Back then, she’d assist her close family friend and veteran rapper, Sasha P, whenever she came to South Africa to shoot music videos. “That was like my first proper exposure to filmmaking, and I just fell in love,” Spaine recalls.
It was toward the end of her time in South Africa that Spaine received a script for the pilot episode of what would become Before 30. Soon after, she started an internship with the show’s producers, Nemsia Productions, who produced After 30, as well as other projects like Soft Love andthe AMVCA-award-winning Breath of Life. Spaine worked with Nemsia over the roughly four years it took to make Before 30, and helped build the story and the audience that helped make its follow-up, After 30, possible.
”People loved the characters, they loved that the story was relatable,” she said of the positive response to the show. “It felt different. It felt like something that was slightly more elevated in terms of the storytelling, [and] the character development.”
Spaine also attributes the show’s success to the fact that it took risks with the kinds of stories it told. “Back then, you were talking about a Muslim couple bringing women into their marriage for sex, about a sexually free character in Nkem. We’re also talking about a born-again virgin who wanted to use spirituality to reverse her past sexual relations. So it was a lot of edge for that time as well, that I think we got feedback on being very successful.”
Before 30 was re-released on Netflix in 2019, and then saw a resurgence during the COVID-19-necessitated lockdowns in 2020 that brought a broader audience. After two years on Netflix, Amazon commissioned After 30 to continue the women’s story with a look at where they are now. Spaine spoke to us about how her personal experiences helped shape the film, how she’s continuing to push the envelope in terms of what kinds of Nigerian stories are being told, and what she hopes
This interview has been edited for length and clarity.
I’m assuming there are parts of you that are in this movie. Can you tell me about that?
I struggle to think of a part of the film that does not have a piece of me in it. But starting with the characters, I’ve always had my favorites. I fancy myself a [Temi] in some ways, which is the lead character. I love fashion, I have that legal background, and I have almost the same relationship with my mom. But Nkem (played by Beverly Naya) is who I would like to be: that level of confidence, sexiness, just being this powerful woman that does what she wants and is unapologetic about it, but is still soft and honest at heart. Ama, for me, is an expression of who I think we should all aspire to be. The kind of good, pure-hearted, well-intentioned person, — that youthful, naive energy. And then for Aisha, it’s just that strength; she already has the security, but you also kind of have to show that being married does not mean all your problems are solved.
All these years after making the original show, how do you think the ways that you have grown as a person show up in the way that these characters have changed?
For [Temi], I don’t know, [Temi] pisses me off. She’s very confused. I don’t agree with how she runs her dating life. Like, I could not stand Carrie Bradshaw, and I love Sex and the City, but all she does is make bad decisions. And that’s kind of what makes a complex and dynamic character. With [Ama], I wanted to do a storyline where a character had to contend with their sexual identity, but from a very respectful place, from a true place that was not going to make fun of or minimize that experience. And for Aisha, the biggest thing with her is the conflicts that she has with Nkem. In the last eight to 10 years of my life, I’ve fallen out with friends that I thought we would die together. That kind of devastating friendship fight where you don’t think you can come back from.
Talk to me about the music for the show, Before 30. How did you put that together, and what decisions went into that process?
The music on this show makes me so proud. I was not as involved in the music of season one. We had no budget for music, so all we could do was approach people. After begging and pleading, maybe two people collected money; the other people just gave us permission. Bez, I think, just gave us permission because he was close with someone on the team at the time.I begged TeeZee for “Toyin” – we were just going around asking family members who had made music. But then there are ones that were chosen because they were so perfect, like Temi Dollface and Blackmagic. So half of it was just using our community, music from our existing community. And the other half of it was just begging, and everybody was upcoming at that time. Everyone was so willing back then to do things as a favor or to do things because they liked the idea.
What was it like securing music this time around for the film?
I’m really happy that the industry has boomed now, but even with what we thought was a comfortable budget, we could not get all the artists [we wanted] for the film.
Kaline [our music supervisor and the composer on the film], did a good job of going back to the drawing board like we did in season one, and just using our community. So, Kaline was able to pull together a bunch of songs from artists [who were willing to work with our budgets]. Everybody got paid, but it wasn’t a massive life-changing amount. They just did it because they believed in the story, and they wanted their music to be attached to the film.
What was your favourite part of making Before 30?
My favorite part was just getting to direct. Honestly, I spent seven years of my life producing thinking, “Okay, this is what I’m good at,” and I feel like I have a natural flair for producing, but I wouldn’t say I ever enjoyed it. It’s just something I knew I could do. Directing makes me so happy. I’m just like, “Why have I been wasting my life producing?” Every time I’m directing, I’m at my best professionally. I get to be creative, I get to tell people what to do because that is my favorite thing in life. So, just getting to direct in itself was a blessing and a journey of self-discovery. I realized: this is what I’m supposed to be doing with my life, this is what makes me happy.
This film was produced by Nemsia, but you have your own production company called Blush and Slate. Can you tell us about that?
Now that Before 30 is out in the ether, I am just excited to continue building a company that centers stories about women, because I really think those are the stories that I am best placed to tell. I know how to speak to women, and I know what they care about. I care that they come off looking the way that they want to look. Whether it’s commercial, reality, documentary, or scripted [stuff], I gravitate towards content that either centers women or is targeting female audiences. So, just continuing to be able to build my own style, my own company, and my repertoire of films with Blush and State is what I am most excited about. Blush and Slate is a vehicle that allows me to express myself fully creatively,
For people who have a story and don’t know where to start, what is your advice?
First of all, call Blush and Slate. If you don’t know where to start, hire a production company or a producer who sees your vision and believes in it and is willing to help you move it to the end. If you are that person and you have the time and resources, and energy to produce it yourself, then just get started. If it’s a documentary, book your first interview.
You don’t have to film the interview. Just figure out who the first person you want to talk to in your documentary is. Call them and have a conversation with them. Ask them if they would even be interested in featuring in a documentary. You just have to start. If it’s a scripted thing, write the first page of the script. You don’t have to write the whole script. Just write the first thing. For people who want to produce things, it’s very overwhelming because there are 2000 things that you need to do at the same time to really kick off a production. But there’s only one way to eat an elephant, and that’s bite by bite. So you still have to do the first thing that you can do and then build the momentum from there. Ideas in your head don’t do anyone any good.
For the next phase of her career, Skyla Tylaa is actively working on creating music while entertaining with...
As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was...
As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was music or stage performances, she found herself exploring these interests intently from a young age. That devotion manifested in multiple ways – her attending the BRIT School and Sylvia Young Theatre School where she performed in a West End production of Annie or her fiddling with several musical instruments while she figured out her creative identity. Through it all, music was a constant, the backdrop to her home life where she grew up between Jamaican and English influences. She remembers being exposed to Drum & Bass, Funky House, and Garage. “I think that’s had a big influence in my DJ career,” Skyla Tylaa admits.
Progressing into adulthood, those musical influences persisted even if she didn’t always engage with them professionally. Things changed when she started DJ-ing during the COVID-19 pandemic. Possessed by a visceral desire to experience the euphoria of interacting with people through music, she burrowed deeper into DJ-ing. “I couldn’t be in my room and just have people commenting,” she recalls. “I need to see people’s energy, and feel everything in the moment.”
Since then, she’s enjoyed a meteoric rise that has taken the world by storm. Mentored by DJ Tunez, she performed multiple times on the American leg of Wizkid’s ‘Made In Lagos’ tour and came out of the experience raring to go. “Opening for Wizkid on his tour was a transformative experience,” she says. “It taught me a lot about resilience and adaptability in my craft. I was still pretty much a start-up DJ when I went on tour and it made me really realise how important it is to connect with the audience. Touring from city to city with different crowds, it helped me to learn how to read the room and keep the vibe going.”
Almost as importantly for Skyla Tylaa, Rihanna was present at one of those tour stops and was impressed by her set, stopping by after the show to congratulate her. “After that I felt like I could conquer the world,” she says. Since then, she’s been selected by Rihanna to DJ at a Fenty X Puma Creeper launch event in London in 2024, marking a full-circle moment between the women.
Like Rihanna, Skyla Tylaa is inspired by music from the breadth of the Black diaspora, playing sets that take as much influence from the fervid restlessness of Hip-hop as they do the wavy melodies of House music, and the dancefloor summons of Afrobeats “I love partying! I genuinely love it,” she explains. “When preparing my sets, I’m always thinking of people having a good time. Whatever I can do to connect with them, I’m down to do it!”
In the last few years, few genres have shown the propensity for inspiring a great time with the regularity that Amapiano does. From Johannesburg to Windhoek, to Lagos, London, and New York, the log drums and mutating basslines of the genre have proven integral to a new Pop framework that is as amorphous as it is exhilarating. Since first hearing the genre while on a visit to Ghana years ago, Skyla Tylaa has been hooked. “It was the log drum, the sound, just the vibes that came with it,” she says. “I was like ‘wait – what is this?’ When you hear Amapiano, it’s one of those sounds that no matter what, you’re gonna dance.”
Diving into the genre, she’s picked up valuable lessons from important figures like Maphorisa, Uncle Vinny and Major League DJz while putting her youthful spin on the sound. It’s all coming together for the DJ who’s working with her sister, music heavyweight Jada Pollock, to figure it all out one step at a time. “When I found my passion for DJing, Jada was right there, urging me to dive into the ‘Made in Lagos’ tour,” she says. “I wasn’t sure I was ready, but she believed in me and knew I could handle it. My love for music has been with me since school; it just took some time for me to realize that this was the direction I wanted to pursue. Once I found my calling, her support became endless–she attended my early gigs and pushed me to perform at major festivals like Afro Nation.”
She’s since performed at leading festivals such as Wireless, Piano People and Australia’s Promiseland as well as selling out headline shows across London, London, and Ghana. For the next phase of her career, she’s actively working on creating music. This month, she released her debut single, “Bombshell,” a searing Amapiano banger that has all the hallmarks of a potential summer hit. “Bombshell” features Tanzanian Bongo Flava act, Diamond Platnumz, as well as South African acts, Tyler ICU, Khalil Harrison, and DJ Exit. It’s a blockbuster showing that sits well in the tradition of the genre. “The idea was initially played to me by Tyler ICU in March 2024,” Skyla Tylaa says. “He and I had a session while he was in London, and this was one of the ideas we worked on. Khalil was already on it, at the time, and I loved what I heard!”
After seeding it into her live sets last summer and starting live teasers with a dance challenge, Diamond Platnumz reached out about potentially working on the song and it was arranged. “I started teasing the new version of the song in my sets and then a whole new viral dance challenge came about online in December,” she says. “From that point, I knew the track had all the elements (features included) to be a big release in 2025 !” For DJ Exit, a chance to be part of a transformative song like “Bombshell” was an opportunity he didn’t want to pass up. “What drew me to this single was the chance to be part of something boundary-breaking,” he explains. “Gqom and Amapiano are both powerful in their own right, but fusing the raw, percussive energy of Gqom with the soulful, hypnotic swing of Amapiano creates a sound the world hasn’t fully experienced yet. This isn’t just another collaboration–it’s a cultural statement.”
The Xhosa word, ‘basazomangala,’ meaning ‘to be shocked,’ is uttered several times on “Bombshell,” and it reflects the message that Harrison was trying to pass on the track. ““Bombshell” is really about letting people know that there’s still so much more to come from me,” he says. “It’s a celebration of the present moment, but also a reminder that this is just the beginning. We’re all dancing to what’s happening now, but there’s an energy in the air that says the best is yet to come.”
In light of Amapiano’s rise to global prominence and the international acclaim it enjoys, Harrison is right about more things being on the horizon, and Skyla Tylaa agrees with him: “When I was introduced to Amapiano, I fell in love instantly and that time it was just on the verge of global appeal. It’s global now and still growing and that makes me appreciate it even more! I love it, and the world loves it! The feeling is mutual ! We can all enjoy it together!”
For Tyler ICU, having DJs from the diaspora like Skyla Tylaa engage with Amapiano and its culture is a win for the genre. “This shows the power of the genre–it’s not just a sound, it’s a movement,” he says. “When someone like Skyla, who appreciates the culture and brings her own flavour, plays Amapiano in places like London, New York or Toronto, she’s not just playing music, she’s building bridges. That’s how we grow–by letting the world feel it in their own way, but staying true to where it started. It’s important that the roots are respected, but the branches can reach far.”
Just a couple of weeks since its release, “Bombshell” has crossed over 650,000 thousand views on YouTube and continues to be a sensation on TikTok. Like everything Skyla Tylaa has done up till now in her career, it’s shaping up perfectly and has shown that she has a knack for the right collaborations. She intends to keep making music. “This year, my focus is all about music,” she says. “I recently signed with Robots and Humans (Sony) in the UK and Epic in the US, which has given me a different level of drive to really want to create good music. I’m also looking forward to exploring the Afro-house genre and collaborating with other talented artists.”
Following the release of '888', Kemena reflects on artistic evolution, self-acceptance, and balancing...
A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the...
A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the joys of creating art, the clarity that powers ‘888,’ and the freedom he found in surrendering to his path. Even though we were speaking virtually, his presence feels steady. He is speaking with the quiet confidence that defines his music–intentional yet fluid, deeply personal yet resonant. Over the years, his artistry has evolved, shaped by a desire for creative independence and the pressures of an industry that often demands compromise.
With ‘888,’ Kemena has reclaimed his space. The project neither chases the mainstream nor rejects it; instead, it exists on its terms, rooted in self-assurance. Across seven tracks, he weaves through stories with a sharp lyrical style and layered production, a testament to an artist fully in tune with his craft. In many ways, ‘888’ feels like an arrival—not to the commercial peak the industry might expect, but to something more valuable: a place of artistic certainty.
Standout tracks like “Rainy Day” and “Bola” remind you that Kemena is a storyteller in more ways than one. On “Rainy Day” he flexes his production prowess but the summery vibe of the song does not blunt the sentimentality of his lyricism. With “Bola,” Kemena taps into his element, deploying witty puns and his brilliant approach of social commentary and “I’m not mad, just hungry” is as relatable as it is envy-worthy—to be so intertwined with a lover that they can complete your lines.
Totaling seven tracks with a runtime of 16 minutes, ‘888’ is brief but expansive, a collection of ruminative thoughts, nimble melodies, and declarations of self-assurance. There is no hesitance in Kemena’s voice when he speaks about the album, no lingering doubt about whether he made the right choices, which is the same confidence he’s communicating in “You don’t need me”. ‘888’ is the product of someone who knows who they are and, more importantly, knows that they do not have to prove it to anyone. From the powerful declaration of “I Will Never” to the easy groove of “Evelyn’s Vibration,” the album takes you on a journey. It is a return to himself, a rekindling of the mindset he had before industry expectations clouded his creative instincts. It is also reminiscent of ‘Bond,’ the project that first put him on the radar of music lovers.
“I made ‘Bond’ as a student,” he reflected during our conversation. “I wasn’t trying to be anything. I just wanted to make music. And then all of a sudden, people started calling me—people I never expected. That was how I got into songwriting for other artists. But somewhere along the line, I forgot what it felt like to make music just because I wanted to.” When I asked him how he found his way back, his answer was certain: “I stopped overthinking. I just made what felt right.”
Our conversation, lightly edited, follows.
‘888’ just dropped. How are you feeling?
I feel cool. It’s been nice. I feel like a celebrity, to be honest. I’ve done a couple of interviews already, and I feel like I’m saying the same thing over and over again. But that’s a good thing, right?
‘888’ feels different from ‘Guitars and Malaria.’ Did you approach this project differently?
‘888’ feels like me making music the way I want to again. With ‘Guitars and Malaria,’ there were a lot of industry conversations and people saying, “Work with this guy, collaborate with that person, do this to make the music more commercial.” I don’t regret making that album, but looking back, I think I was trying to fit into something instead of just being myself. I wouldn’t say I lost myself completely but, I lost the balance between the business and my authenticity. I started to feel like my music wasn’t valid unless it was getting industry attention. And for a while, I was chasing that. I was doing what I thought I should be doing, instead of what I wanted to do. I had to learn that I’m probably a project artist. I needed to stop feeling like my music wasn’t enough just because it wasn’t ‘blowing up.’
I started thinking about why people liked ‘Bond’ and, back then, I wasn’t overthinking it. I was a student just making music because I loved it. I wasn’t trying to force anything. But then, suddenly, things started happening—I started getting calls from people I never expected. That’s actually how I got into songwriting for other artists. People in the industry heard ‘Bond,’ reached out, and asked me to write for them. And before I knew it, I was deep in that world. But in the process, I started to forget what it felt like to just make music for me.
Was there a specific moment that made you realize you needed to return to that authenticity?
Yeah. At some point, I just stopped overthinking. I realized [that] I didn’t have to prove anything to anyone. I didn’t have to chase industry validation. I could just make what felt right. That’s where ‘888’ came from.
One of the things that stands out about your music is how it feels both deeply personal and universally relatable. Do your lyrics come from lived experiences?
Not exactly. I think the way my music is put together—the energy, the emotions—is influenced by what I’m going through at the time. But the actual content? Almost none of it comes from my personal life. I don’t write songs like, “Oh, this happened to me, let me put it in a song.” Instead, I take a feeling, a perspective, or something I’ve observed and build a fictional story around it. I also like humor. I like to be witty, to play with words in a way that feels natural but unexpected. That’s always been part of my music.
That makes sense. Your lyrics often have a layered meaning like they say one thing on the surface, but there’s a deeper story underneath.
Exactly. I like to phrase things in ways that make people stop and think. I want someone to hear a line and go, “I’ve thought about this before, but I never knew how to put it into words.” Or sometimes, I just want the music to feel good. It doesn’t always have to make sense, it just has to resonate.
Would you say that’s why artists like Omah Lay and Jon Bellion resonate with you? Because they do something similar with their songwriting?
Yes! Jon Bellion especially. His music is almost like sermons sometimes. He says things in a way that makes you pause and reflect. Like in “Conversations with My Wife,” when he sings, “What if all the things I’ve done were just attempts at earning love? Cause the hole inside my heart is stupid deep” That’s the kind of songwriting that gets to me. That’s such a simple way to express love. He could have said it in a hundred different ways, but he chose that one. That’s what I admire. Not just what they’re saying, but how they say it.
That approach is very present in your music, especially in ‘888.’ What’s your favorite lyrical moment on the album?
It’s a conversation. It’s not one person talking. On ‘I will never,’ there’s this part where one voice says, “The things you want for me, I want it too. The things you like for me, I like it too.” And then another voice—almost like a god-like figure—responds: “Hope you know that I would never say something I don’t mean.” That moment feels special to me. It’s basically a prayer, but I don’t like to box my lyrics in, I keep it open-ended.
With the album it feels like you weren’t just making music but you were reclaiming something. Would you say this project is a turning point for you?
Yes, I think so. It’s not my first turning point, though. ‘Bond’ was the first one. ‘Bond’ was the project that put me in rooms I never expected to be in. Before that, I was just a student making music. Then, suddenly, people were calling me—people I respected. That was how I got into songwriting for other artists. But then, in trying to navigate that world, I lost a bit of myself. ‘Guitars and Malaria’ was me trying to find that balance, and ‘888’ is me realizing that I don’t have to balance anything, I just have to be.
You’ve mentioned that you’re at peace with not chasing commercial success. Is there a part of you that wants mainstream recognition?
If it comes, great. But I’m not going to force it. I know how the game works. I’ve written for big artists, so I know the kind of songs that work in that space. And if I wanted to, I could sit down and make those songs. I could make music that fits neatly into what’s trending. But that’s not why I do this.
Does songwriting for other artists help you keep your music pure?
Yes! That’s a big part of it. Since I also write and produce for other artists, I don’t have to rely on my music to pay my bills. That takes a lot of pressure off. It means I can release what I want, when I want, without thinking, “Will this chart? Will this go viral?”
That freedom must be refreshing.
It is and it’s why I don’t overthink my releases anymore. I’m constantly creating. So when something feels ready, I put it out. I don’t have to wait for industry validation or the “perfect” timing.
What does that mean for the future? More projects?
A lot more. I’ve realized that my way forward is to just keep giving. The Lord has put me in a position where I can create without stress, so that’s what I’m going to do. No long breaks. No holding back. I’ll just keep releasing.
What is the biggest takeaway from ‘888’ for you?
That you don’t have to force anything. Whether it’s love, creativity, or success—what’s meant for you will come when you’re aligned with yourself. And if you have to fight too hard to keep something, maybe it was never really yours to begin with.