Staying True To Our Mission To Reshape The Face Of African Popular Culture, The NATIVE Team Curates A Monthly List To Spotlight The Best And Most Exciting New Artists On The Continent. Some Of These Artists Have Dropped Songs To Some Regional Acclaim, While Others Are Brand New On The Block, Working Towards Their First Big Break. Tune In To What’s Next. Click Here For March’s edition.
Last month, after two years of discovering some of the Best New Artists on the continent and in the diaspora, we launched uNder, our new column dedicated to furthering our mission of spotlighting the sounds of tomorrow: today. With the start of a new year and quarter, we deemed it best to re-evaluate our commitment to music discovery and where it fits into the grand scheme of things in today’s hyper-viral climate.
While our goal of putting you unto the most exciting sounds remains unchanged, we realise that music is in a constant state of motion. uNder, therefore is a celebration of the ever-spinning wheels of music which vastly covers artists at different stages of their careers–from brand new discoveries to artists who are reaching a tipping point and on their way to mainstream success and even to more familiar names, with a few accolades under their belt.
This month’s edition is an indication of how wide that talent pool currently is. From Nigeria’s Boy Spyce who was just activated by the Mavin powerhouse with a debut eponymous EP to South Africa’s Pabi Cooper who blends kwaito with the rich sounds of house music. So stay tuned for all the exciting features to come—we’ll still be doing this round-up every month, but if you want engaging submissions, deep cuts, or just want to suggest who else we should be listening to, subscribe to uNder newsletter. We hope you find something new that you like.
Boy Spyce
The Mavin Dynasty has done one thing since it was established in 2012: produce stars. Last year, the record label unveiled Ayra Starr and Magixx, two instantly prominent voices of the new generation. In such little time, we’ve seen these artists grow rapidly, positioning themselves as key parts of the new wave of stars, emphasising that Mavin isn’t stopping anytime soon.
Earlier in the month, Mavin records activated new signee Boy Spyce, a promising new already making his mark and primed to reinforce the label’s dominance. Spyce was first discovered through a viral video on Instagram where he did a cover for Wizkid and Tems’ “Essence”. The cover garnered the attention of many, including industry heavyweights such as Don Jazzy, who reached out to the artist at the time and signed him to the Mavin academy.
Now, the artist is ready to take on what the world of music has for him. His unveiling arrived with the release of his self-titled debut EP, a 5-tracker which cuts across matters on love, self-awareness as well as self-growth, showcasing his euphonic vocals and splendid songwriting skills one track at a time. Tracks such as “Wayo” and “Dreams” are clear statements by the artist, proving why he’s here in the first place. On “Dreams”, he sings lyrics such as “And I dey look you through my window; boy you have to chase your dreams, you have a plane to catch by six”, reminiscing on the past and wishing for a better future.
Boy Spyce is a fresh voice of the new generation and we’re rooting for him.
Wonu Osikoya
Simi Liadi
Silky vocals have featured in the resumes of many great R&B musicians, and Simi Liadi is no different. Born in Germany to Nigerian parents, her childhood was characterised by a lot of moving around. Her family eventually settled in Maryland, USA. At 12, she joined the church choir which was where she got her earliest training on the technicalities of sound. In 2020, Liadi made her debut with “Clear”, a glossy record built on stuttering drums and swooning keys.
Liadi’s songwriting underplays complexity, rather honing in on the nuances of her voice to pass across an ultimately deep message. “Clear” was indicative of this, beginning with the couplet “I don’t need nobody but you/ But I need you to tell me if you’re down for me too.” She proved to be a consistent act over that year, releasing “Dream” and “The Hills”, both further underscoring her flair for pulling diverse strands of young love together.
She was especially busy last year, releasing a number of songs before putting out her debut EP, ‘Essence’, in May. Its six songs were carefully selected to highlight Liadi’s subtle twist on love stories, with “Letter To You” and “Faded” being particular highlights. The former demonstrates her technical writing ability vividly portrayed with melancholy as she thinks of a distant lover. “Faded” is about feeling out of touch in a relationship, with Liadi likening it to a fading fire. Last month Simi Liadi released a 3-pack titled ‘Experience’. Here, her songwriting shows even more maturity, leaning into less dramatic flourishes to tell her stories. Together, it’s a fine offering in the oeuvre of a singer who’s really singing.
Emmanuel Esomnofu
Pabi Cooper
From the deep basslines of Kwaito to slowed-down House beats and the dark atmospheres of Gqom, Dance music has, for decades, been an outlet for young Black South Africans to creatively express themselves. At the moment it cannot be argued that Amapiano is the biggest sound at the moment, serving as the modish outlet for producers, singers and dancers to express and entertain. This ongoing ‘Piano dominance has been the catalyst for new stars to transition from the dancefloor to the singing booth.
Not too dissimilar to 2021 breakout star Kamo Mphela, the exuberant Pabi Cooper came into the spotlight for her smooth dance skills in Amapiano, before getting in front of the mic to hone and showcase her chops as a vocal entertainer. Releasing her first EP dubbed ‘Isphithiphithi’in 2021 she has become a fast-rising star to watch out for. The 2 song-set contained the titular track, featuring Amapiano buzzing artist Reece Madlisa, Busta 929 and Joocy, and “Unyangi’Jabulisa” featuring Yumbs. The EP vaulted her to local notoriety, on the strength of her gleaming vocals and infectious, energetic candour over dusty beats.
Despite being a relatively fresh face to the industry, Pabi has enjoyed many highlights on her path to greatness including stellar collaborations from some of Africa’s biggest stars including DBN Gogo, Focalistic and Diamond Platnumz. Her latest release, “Bayana Ke Bafana,” seals her come-up, as she partners with Focalistic, Ch’cco, LuuDadeejay and Nobantu Vilakazi for an anthemic cut that cements her proficiency for delivering ‘Piano cuts with a wide appeal.
Tela Wangeci
Majeeed
At just 23, Nigerian singer Majeeed has been making music for seven years, and writing for some of the most influential names in Afropop today, from Tiwa Savage to Seyi Shay. The singer and songwriter is slowly becoming an emerging voice of the new vanguard of Afropop stars, using music as a potent tool to tell stories which heal the mind. Interestingly, in a conversation with The NATIVE, he described his music as nature-inspired.
After signing with new record label Dream Empire Music, which was established in 2021, Majeeed recently delivered his debut EP ‘Bitter Sweet’. The 6 track project is a musical experience which is tied together by the artist’s emotions, his personal experiences as well as his environment. The 17-minute long listen features records such as “Yawa No Dey End” and “Tough Love”, both of which are uptempo afro-fusion records, which sees Majeeed speaking to his love interest about what he has been through and why he deserves to be loved correctly, flaunting his songwriting abilities and his satisfying melodies on the tape.
Since Majeeed made the decision to begin making recording music for himself two years ago, his musical journey has become a story in itself. With a knack for blending catchy Afropop rhythms with soothing R&B melodies, Majeeed is one to look out for this year.
Wonu
Mau From Nowhere
Kamau Wainaina came up with his moniker, mau from nowhere, as an ode to feeling out of place within the context of mainstream Kenyan music. Starting off on the Hip-Hop/R&B spectrum, he’s diversified his sound over time, leading him to dive into his pure consciousness and create by listening to more of his inner self. His hotbed is his ability to draw your emotions as seen in “Try,” as his vulnerability creates a serene environment free of judgement. Inspired by his time spent in the diaspora, UK and briefly, in the US, Mau has no facade in his music permeated, by mellow sound beds and cathartic performances.
For his releases, he occasionally takes to Soundcloud and YouTube, releasing covers and singles as he builds his Kenyan fanbase. From the release of his 2020 EP ‘MFN’, which is an acronym for his name Mau From Nowhere, his growth and maturity can be heard and felt as he expands his sonic palettes in “Pink Matter,” originally by Frank Ocean. ‘MFN’ was a stellar tape where Mau exhibited himself as a multidisciplinary artist, exhibiting his prowess as a singer, songwriter and producer. The EP served as a re-introduction into the scene allowing him to re-centre as he plans his next move. Thematically, the project delved into the complex turmoil of the human experience, touching on burnout and self-sabotage, while the results of miscommunication in relationships are also explored.
Sonically mau from nowhere is an experimental artist often toying with unconventional sounds. His creative restless nature enables him to explore and grow his sound as he delivers his emotionally layered numbers with tangible emotions.
Tela
Raebel
It’s increasingly becoming common for young Nigerian women to steal our hearts with names such as Fave and Ayra Starr immediately coming to mind. Another name that should be on your radar is Raebel, an 18-year-old singer with a voice of gold. She grew up listening to the greats Onyeka Onwenu and Fela Kuti, but also had lots of contemporary music around her, put on by her mother. “My mom tried to make me join a choir but it was not my thing when I was younger,” she tells The NATIVE.
Raebel’s voice is undeniably her standout feature, a sun-tinted blossoming made even more evocative through her unique takes on songwriting. Writing from her own perspective, her songs however come across as universal, imbibed with all the emotional heft that has made international youngsters like Arlo Parks and Olivia Rodrigo so heralded in recent years.
Last December, Raebel released “Miniskirt”, a record about her autonomy in a relationship. She recounts the conflicts between her and a lover who wants her to freak out for him. The Timbun-produced song sparkles with bubbly drum patterns and an assortment of live-sounding effects. Made breezy with elements of Dancehall, Raebel sets a distinct mood, weaning lyrics such as “Why you try to compare me with all of them girls?/ Say me no fit wear miniskirt for you/ Me no fit be like others for you”. Speaking about the song, she says, “‘Miniskirt’ is not just a song about a [piece of clothing]. It’s a song about life, about society and how people expect you to be. Everybody expects you to look like this, the society wants this from you, what about what you want?”
Emmanuel
Avalanche Kaito
Experimental doesn’t even begin to describe the music Avalanche Kaito make. The trio, comprising Burkinabe griot and multi-instrumentalist Kaito Winse, alongside Belgian musicians Benjamin Chaval (drums) and Nico Gitto (guitar), is primal and cerebral, folksy and post-modern, beholden to ancestral traditions and driven by a future-facing, inventive verve. It’s a head-spinning meld of punk, electronic music, beatless noise, hints of free jazz, and Kaito’s deeply-ingrained folk music and reverence to tradition.
Born and raised in the village of Lankoué, in the Sourou region of northern Burkina Faso, Kaito Winse learnt the griot customs and musical heritage of his origins, taking them with him on his European travels, where he met Chaval in 2018. Then, Chaval was part of the post-punk duo Le jour du Seigneur, and as the two new friends and collaborators continued bonding, they invited Gitto to join in the formation of Avalanche Kaito. All three artists push past the boundaries of their work in previous bands and as solo act—notably, Kaito’s 2020 album ‘Kaladounia’ is a masterful introduction to the folk music knowledge he gained while growing up.
Earlier this year, the trio dropped their debut EP, ‘Dabalomuni,’ a brief and searing collection that includes musically spare tracks that centre Kaito’s voice, sometimes manipulated but never lacking organic intensity, and entirely wordless songs that still stun with their shifty compositions. It’s just an entrée for Avalanche Kaito’s self-titled debut LP, set to drop in June. With their released material so far, the band has set a precedent of unlimited possibilities guided by their zany perception of music’s relation to the earth, and whatever imaginations follow after that.
True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu, aims to bring the dance...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people don’t dance at gatherings anymore. While partying, theoretically, includes other activities like talking to strangers, getting drinks, and conducting business, it is primarily geared towards dancing and living in the moment.
These days, however, there seems to be more emphasis on these other activities than actual partying. People are doom scrolling on the dancefloor or are more occupied with trying to take the perfect selfie. Enter: True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu that aims to bring the dance back to the parties by centering on the richness of African sound and the communities that love it.
“We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers,” Kofoworade tells The NATIVE about the inspiration for True Clrs over a Google Meet conversation in July. “Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas.”
Since its inception in 2023, True Clrs has hosted over 15 editions of its travelling party series across cities in the United States. In addition to a dedicated real-life following that engages with their series, they have also cultivated a robust online presence thanks to their meticulous branding and active CRLS YouTube page that features various thrilling DJ sets.
Ahead of the latest Houston edition of True Clrs, which featured ODUMODUBLVCK and Sarz headlining the Global Sounds Stage and others like Native SOUND SYSTEM’s DJ Sholz, Lowkey Ade, and Khulumars on DJ duties, we caught up with Adeola Kofoworade to discuss how they’ve managed to position True Clrs as the go-to party series in Texas, what makes them unique, and what their long-term plans are.
What inspired True Clrs?
We originally started True Clrs about two years ago because we noticed that there was a space in Dallas that we could infiltrate. We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers. That’s something pretty notable down here in the South. In clubs, there are a lot of sections and no big dance floors, so people are stuck in their sections without really interacting with other people. Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas. At first, we started with Afrobeats and Amapiano-centred parties, but then we started branching out to other genres as well.
How have you been able to position True Clrs as one of the go-to diaspora-focused party series in the U.S, especially in Texas?
We try to be innovative. We always try to make every event better than the last one. So if you came to one of our events the previous month, we try to switch things up and make sure you have a better experience the next time you come. We do this by booking notable DJs from around the country and even around the world. We also started booking a lot more talents. Last year, we had Lancey Foux; we had Sholz, who brought ODUMODUBLVCK; and we also had Skyla Tyla. This year, we’re looking to do more of that so we can always give our audience a notable experience.
How do you balance catering to the African diaspora with appealing to a broader audience that might be unfamiliar with the music and experience?
There are a couple of ways we try to do this. First, since we have monthly events, we try to switch between different genres and vibes. So let’s say, one month we have an Afrobeats and Amapiano party, the next month we could switch to this concept that we call the R&B rave. In the R&B rave, we basically play all types of R&B music, whether it’s old, contemporary or alternative, and we curate a rave-like setting.
We also run this concept where we have like two or three stages playing different genres. We could have one stage playing Amapiano, the other R&B and the other more global sounds. I guess it just depends on the venue we use. But we’re able to offer different experiences even at the same party.
Are there any other unique elements that set the True Clrs experience apart from other nightlife events?
One of our main appeals is recording DJ content. I know DJ content has become saturated recently, but what separates us is that a lot of our content is very genuine. It’s not made up or staged. We get real-time reactions from people. A lot of the time, people don’t even know they’re being filmed. Our content makes us notable, and it’s helped push our brand forward.
Since you began True Clrs, how have you been able to cultivate a strong online presence as well as a thriving community in real life?
With our online presence, it’s really been our content that has helped put us out there. We’ve had a couple of reels or YouTube sets go viral, and that’s definitely helped our online presence. Also, just being the kind of people we are, we take our time when it comes to branding True Clrs. We get a lot of feedback from people regarding our content, and we take it into account moving forward. For our real-life community, my partner and I had already been heavily involved in the entertainment space and the African community here before we began True Clrs. So we got a lot of support when we first started, and we’ve just kept building from there.
What’s the long-term vision for True Clrs? Are there any plans to expand into other U.S. cities or even international markets?
Definitely. Last year, we had our first international event in Addis Ababa, Ethiopia. My partner was up there for a holiday, and we decided to throw an event there. In the future, we do plan to expand to other countries, whether in Africa or Europe. With our connections with talents like Lancey Foux, Skyla Tyla, we’re also looking to see if we can put together festivals. That’s what’s on the horizon for True Colors.
What would you say to someone who’s never been to a True Clrs party? What should they expect, and why should they come?
Our goal is community curation through music. So what I would tell someone who’s never been to a True Clrs party is they should come with an open mind. They should trust our DJs because they might hear songs they’ve never heard before and still be able to have a good time. Also, while we don’t force people to interact, we encourage people to interact and dance while listening to good DJs.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she emerged on the Nigerian music scene in 2011, Ms. Savage has set an inimitable standard in terms of platforming the point of view of women at the pinnacle of Afropop, working to show that women are multi-dimensional and layered, capable of going through the motions of joy, angst, distress, and optimism just as much as the next person. By unapologetically leaning into the very minutiae of what makes her tick as a woman, she’s become a fan favourite and an undisputed legend of the genre.
Impressively, she’s done this while making great strides sonically. From the throbbing afropop of ‘Once Upon A Time’ to the swaggering house-inflected triumph of ‘R.E.D,’ and the dense polyrhythmic structure of ‘Celia,’ Tiwa Savage has continued to tincture her R&B-adjacent sound with influences from home and abroad. It is an accurate reflection of Tiwa Savage as a person: grounded by her Lagos heritage but shaped by global influences. For the last six months, she has been talking up her forthcoming fourth album, describing it as a full-throttle return to the R&B sound that was her stock in trade before she returned to Nigeria in 2011 to establish herself as an Afropop powerhouse.
In April, she released the emotive “You4Me,” clearly establishing the direction for her new album, ‘This One Is Personal.’ Produced by Mystro Sugar, “You4Me” put a fresh spin on Tamia’s ’90s classic “So Into You” with percussion work by Magicsticks adding a decidedly Afropop sheen to the song. Upping the ante, Tiwa Savage returned with “On The Low,” a delightful sung-rap bop featuring British-Nigerian rapper, Skepta. Like “You4Me” before it, “On The Low” is steeped in R&B tradition, finding Tiwa Savage pining after a love that feels like a taboo or forbidden pleasure. Produced by Rymez and Mystro, it is a surefire pointer that Tiwa Savage wasn’t joking when she said ‘This One Is Personal’ had overt R&B influences.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is helping to propel her artistry to new heights. Just as the soundtrack for ‘Water & Garri,’ her debut as a filmmaker, pared down universal emotions like longing, desire, and anxiety into digestible bits on standouts like “I Need You,” “Lost Time,” “Love O,” her latest song chronicles the intangibles of a romance that’s quite not out in the open. “I know you want to link on the low / We have to stay discreet, you don’t know,” she sweetly intones on the song’s hook, clearly obfuscating the true status of the relationship but revealing just enough to let her listeners know that the dynamic of this relationship is not the usual.
It’s a premise that is established from the opening lines of the song when Skepta breezily starts with an offer to travel, presumably after being unavailable for a while. “Yeah, I’m off tour, we should celebrate / Dedicate some time for you, baby, it’s a date,” he says. It sets off a sequence where Tiwa Savage admits to being annoyed by the complexities of this relationship.
Still, there’s something about the thrills of these tenuous romances that keeps one tethered to them, and Tiwa Savage manages to capture the dilemma of the situation when she sings, “Boy, you make me stressed, you don’t know / Then you send me sweet texts on the low.” Her measured delivery and tonal inflections lend an air of believability to the story that would be inaccessible in lesser hands.
It helps that even as she revisits her R&B origins, the singer still maintains a strong connection to the sonic references that made her an Afropop juggernaut. There is seriously impressive percussion across “On The Low” with enough Yoruba ad-libs sprinkled across to remind any doubters that this is a Nigerian star paying homage to an elemental part of her evolution without losing touch with her roots. It sets the stage for This One Is Personal’ perfectly.
Louddaaa sees Nigeria’s distinctive sonic identity as a responsibility, something to preserve and carry...
The world first discovered Louddaaa's artistry on Ayra Starr's eponymous debut EP, where he produced three of...
The world first discovered Louddaaa’s artistry on Ayra Starr’s eponymous debut EP, where he produced three of the five tracks. “Away,” his first collaboration with Mavins Records, became Starr’s breakthrough, gaining over one million Spotify streams by April 2021 and establishing him as a force behind the boards.
His signature lies in the spaces between sounds: synths that drift like the morning mist of Lagos, percussion that falls with the gentle persistence of rain, and arrangements so delicate they seemed to float. On Starr’s debut album, ‘19 & Dangerous,’ Louddaaa’s evolution unfurled across five tracks: “Cast,” “Beggie Beggie,” “Lonely”, “Amin,” and “In Between.” By then, his work had blossomed, the beats becoming muscular without losing their supple grace, and the melodies flowing like liquid silk across each composition. Now, in 2025, the quiet kid from Lagos has found his voice.
Like many great artists, Louddaaa’s calling found him. Walking home from a church rehearsal at just eleven years old, he experienced what he describes as divine revelation. “God showed me that I was going to be a producer,” he says during our Google Meet conversation on a chilly Sunday afternoon in mid-July.
Born Kehinde Alabi, he grew up in Oshodi, Lagos, where he had his basic education. At age nine, his family moved to Ejigbo, the part of the city he would come to call home. A true Lagosian, he traces his ancestral roots back to Ekiti through his father and Osun through his mother. He’s one of three children—and a twin. Music wasn’t a profession in his household. As a child, he’d sneak out to church rehearsals to play, fearful of the punishment that might follow if his father found out.
At age 11, didn’t know what the term “music producer” meant. He simply knew that his destiny lay in creating music. The calling required preparation, and unknowingly, he had been getting ready for it since the age of seven. While his siblings attended children’s church, he would linger behind the drummer during services, soaking in the rhythms. Eventually, at nine, he took up the role himself, becoming one of the church drummers.
As he grew older, he added the keyboard to his repertoire, driven by instinct. “I’m the kind of person who likes to learn new things,” he explains, excitement audible in his voice. “Everything was just God preparing me for production.” It would take some time for the prophecy to come to pass because prophecies, even divine ones, require patience.
Louddaaa’s earliest musical influences came from home: his father played a lot of gospel, Apala, and Baba Ara, while his mother was a huge fan of Tope Alabi. Growing up, he gravitated toward artists like 2Face and Styl-Plus, D’Banj and Don Jazzy, who left a lasting impression on him. As a professional drummer throughout much of his young adulthood, he was exposed to a wide range of genres, learning to adapt his playing style for different artists and audiences.
In his first year at the Federal University of Technology, Akure, Louddaaa began telling anyone who would listen that he was a producer despite having never actually produced a single track. The universe, it seemed, was listening too. In his second year, tired of Louddaaa’s endless talk about production without action, a friend put a laptop in his hands. The gift came loaded with FL Studio, a software that would become his gateway to actualization.
That night marked the first of countless all-nighters spent hunched over glowing screens, crafting beats while his classmates slept. His hunger was insatiable. His makeshift production journey began when he salvaged a pair of old speakers from his dad and set them up in his school dorm. With nothing but earphones and those aging speakers, he started calling up friends who could sing, drafting them into his self-declared label. In 2016, he officially founded his record label, Tal Entertainment. Throughout his years in university, he visited local studios, absorbing knowledge through internships and observation.
Armed with an Industrial Design degree and an unfulfilled musical prophecy, Louddaaa graduated from school in 2017 into a world that had no immediate use for either. He found himself in Port Harcourt, interning as a sound engineer, still chasing the dream, just from a different angle. Then fate intervened. In 2019, he moved back to Lagos, and not long after, a friend forwarded him a job listing: Mavin Records was looking for a recording engineer. It wasn’t his dream of music production, but it was a door, and Louddaaa walked through it.
If you had told him then that he would one day craft hits for Ayra Starr, he would have laughed at the possibility. In 2020, he was simply the sound engineer who stayed late, making beats when no one was watching. He expected nothing in return. But the universe rewards persistence in mysterious ways. One evening, as Louddaaa lost himself in a rhythm that had been haunting him all day, footsteps echoed in the hallway. Don Jazzy paused at the door, drawn by the loop spilling from the speakers.
“Who owns this beat?” he asked.
“I’m just playing around with it,” Louddaaa replied, perhaps too casually for a moment that would reshape his entire trajectory.
Don Jazzy wanted Mavin Records’ newest signee, Ayra Starr, to try something over it. By the next day, she had, and history was quietly being written in that Mavin studio. His first collaboration with Ayra Starr never saw the light of day, but it did something else: everyone who heard it believed. “She started sending me ideas to help her make beats,” he recalls. At the time, he couldn’t fathom why.
This period of his life was Louddaaa at his most vulnerable: a producer who didn’t yet trust the title. No one had ever paid for his beats. His credentials consisted of a childhood prophecy and an ambitious university label. When the melody that would become “Away” first whispered through his headphones, he had no idea he was architecting his breakthrough. “I didn’t even know why Ayra wanted me to produce for her,” he admits, the bewilderment still fresh in his voice years later.
“Away”soared. It became number one on the charts, earning millions of streams locally and internationally, morphing into a cultural moment that transformed two careers simultaneously. For Ayra, it was stardom. For Louddaaa, it was validation on the grandest scale possible. The prophecy had flesh now, and the producer who once questioned his abilities finally understood what everyone else had already seen. “Away” was his creative genesis, not just the song that introduced him to the world, but the voice that said: You can do so much more. That voice has since become a roar, leading to collaborations with Afropop royalty including Davido, CKay, Simi, Ladipoe, and Lojay.
The origin of his name dates back to when he worked as a sound engineer at Mavin Records. Kenny (as he was called) preferred to keep his speakers at a modest volume, but the artists and managers around him wanted high volumes. “Kenny, turn it louder!” they’d urge, again and again. Louddaaa stuck, first as a joke, then as a brand. Now, a Louddaaa instrumental is instantly recognizable by his vocal tag and the emotional core running through the music. He calls his sound “soulful,” and it’s a quality that is traceable across his work.
But perhaps the producer’s most intriguing dimension is his growing intersection between music and film. “Film is my retirement plan,” he used to tell himself until a conversation with director Kemi Adetiba reframed that thinking. “She asked me, ‘Why make it your retirement plan when you can start now?’” The question stayed with him, especially since scoring films had been a long-held dream. So when director Afolabi Olalekan approached him to work on the score for ‘Freedom Way,’ it felt like destiny.
The score came naturally to Louddaaa, as Freedom Way draws from his own lived experience with police brutality. That personal resonance shaped the project’s emotional core. Since its completion, the film has premiered on prestigious international stages, including the Toronto International Film Festival (TIFF), the Red Sea International Film Festival in Saudi Arabia, and a screening in New York. On July 18, 2025, it finally made its debut in Nigerian cinemas and is now available for public viewing. For his work on ‘Freedom Way,’ Louddaaa earned a nomination for Best Score/Music at the 2025 AMVCAs.
Louddaaa is part of a compelling wave of Nigerian producers and artists expanding their creative reach beyond the charts, venturing into film scoring and sound design. This cross-pollination of talent has been brewing for years. Take Falz, for instance. Known for his genre-blending sound, he’s also made a name for himself onscreen. His breakout role in Jenifa’s Diary earned him an AMVCA in 2016, followed by appearances in hit films like Chief Daddy, Merry Men, and 10 Days in Sun City. Tiwa Savage joined this cross-medium movement in 2024 with her film debut, Water & Garri, named after her 2021 EP. The project served as a visual interpretation of the emotions and themes embedded in the music.
For Louddaaa, the pull toward film is rooted in a desire for deeper expression. “Music and film go hand in hand,” he explains. “That’s why we shoot music videos, we’re trying to tell a story, to express ourselves.”It’s this understanding that positions him not as a producer dabbling in film but as a storyteller expanding his canvas, recognizing that some emotions require more than three minutes and a hook to fully unfold.
Today, Louddaaa’s father speaks of his son with pride, often referring to him as “the big producer.” “My dad carries it on his head now, literally,” he says, half in awe, half amused.
A typical day in Louddaaa’s life includes hitting the gym, working on music, and reading self-help books. “My favorite book depends on the problem I’m trying to solve at the time,” he says. It was while trying to navigate one of those problems that he decided—on a whim—to create a few ideas for Davido. At the time, he didn’t even know the global superstar was working on a new album that would become ‘Five.’ He sent the ideas to Davido’s manager without overthinking it. To his surprise, Davido liked them. “Next thing I knew, David started following me on Instagram.”
Louddaaa went on to produce “Anything” and “10 Kilo” on the album, both tracks carrying the signature elements of a Louddaaa production: emotive, featherlight, and breezy. There comes a moment in an artist’s journey when the work begins to speak louder than the name, and Louddaaa was honing in on that moment.
Louddaaa sees Nigeria’s distinctive sonic identity as a responsibility, something to preserve, evolve, and carry forward through both music and cinema. “It’s a blessing that I’m able to contribute to the evolving nature of African music and film,” he says. The future he imagines reaches far beyond mere music scores. “I don’t plan to wait a long time before directing films,” he says with the same certainty that once made him claim the title producer long before the world agreed. It doesn’t sound like ambition; it sounds like purpose, stepping into his next chapter. That sense of purpose has become his anchor, transforming what might otherwise be an anxiety-laced career into a stress-free one.
“I don’t enter a session to make a number-one song,” he says. “I enter to tell a story.” That distinction defines everything he does. The charts might applaud his work, but his heart is tuned to something deeper. “I don’t know how long this moment will last, but I do know I want to contribute something. I want my work to touch someone’s life.”