“I’m not consciously trying to make my music sound global. I just make music, and let it travel.”
Blaqbonez has built his career on doing things his own way. From his early days as a battle rapper to making records that move between hip-hop and more melodic sounds, he’s never been afraid to switch things up. With No Excuses, he’s looking to push things further, even if that means fighting to keep certain songs on the album. We caught up with him in the studio where tracks like ‘Chanel’ and ‘Big Performer’ came together, talking about his creative process, the place of Nigerian rap on the global stage, and what it means to represent home while making music that travels beyond it.
Away from the studio, the conversation turns to clothes. Blaqbonez talks about his love for Nigerian streetwear, the designers and artists he looks to for inspiration, and why his style is always changing. From Tokyo James pieces to his current obsession with black and chrome, he breaks down the wardrobe essentials he can’t do without. He sits down with PAUSE to talk music, fashion, and what comes next.
Photographer: Oluwabuyilumi // @buyilumi
Videographer: Bino // @binos_lens
Producer: Johnson Gold // @johnson_gold
Location: Lagos, Nigeria
We’re sitting in a room where you’ve made some of your biggest songs. Take us back to the last song you finished here. What was going through your head when it clicked?
Blaqbonez: The last song I finished here hasn’t come out yet. It’ll be out soon, on my album in October. But this is where everything was made, “Chanel,” “Big Performer,” everything. I literally recorded all of it here. But because I’m travelling a lot right now, everything feels a little disconnected.
Wow. No Excuses came after a lot of delays and rewrites. What almost didn’t make the album, and why did you fight to keep it in?
Blaqbonez: I think “California” is one of my favourite songs on the album, personally. There were times when people suggested taking it off. The same thing happened with “Just Hustling.” I remember thinking, “No way, this song is important to the message.” I’m glad I fought to keep both of them in.
When you’re in the studio creating music, what does your thought process look like? What sparks the sounds you choose and the music you create?
Blaqbonez: I think it’s just my life, man. I’m trying to make music that sounds like the soundtrack to my life at that moment. What am I doing? How am I feeling? Those are the things that shape how I create music. It’s literally about my life.
How different are you in the studio compared to when you’re on stage, musically speaking?
Blaqbonez: There’s way more energy on stage than in the studio. The studio is more about the vibe; it’s more relaxed. But when you make the song, it’s banging. Obviously, people are partying, but it still doesn’t compare to the energy on stage. You leave the stage feeling like, bro, you’ve been knocked out!
When you’re creating a sound in the studio, do you imagine how it’ll translate on stage? Does that help you prepare mentally for performing it?
Blaqbonez: One hundred per cent. When you’re making a song, you’re imagining yourself in front of thousands of people, rapping and getting that energy back from the crowd. So, yeah.
You started out as a battle rapper before moving into more melodic, commercial records. Do you ever miss the rawness of that earlier version of your sound?
Blaqbonez: No. I like change. I like evolution, so I never miss the old versions of myself. I’m always excited about who I am right now.
Afrobeats has gone global, but Nigerian rap arguably still has a harder time getting the same spotlight. Why do you think that is, and what will it take to change it?
Blaqbonez: Pop music is pop music. It’s popular music for a reason. As a rapper, you chose hip-hop for a reason, so regardless of the circumstances, I’m always up for the fight. I’m always excited about finding new ways to make rap interesting. Rap is something I’m passionate about. I love doing it, and I love creating it. I’m constantly finding new ways to present it and make it more accessible to people. The more accessible the music is, the more people will connect with it and support it.
I’ll always be part of that fight because this is what I want to do. This is the kind of music I want to make, and I love it. I don’t even see it as a fight. I see it as being unique, being different, going against the grain. And I like that.
You’ve worked across the continent, collaborating with artists from South Africa, Ghana, Kenya and Zimbabwe. What have you learned about the differences in how hip-hop is made and received across Africa?
Blaqbonez: Every country is different. The way artists grow up listening to hip-hop varies from place to place. Kenya is different from Ghana, and South Africa has its own thing going on.
But at the end of the day, everyone represents where they come from. I feel that, as a Nigerian rapper, I have to be a clear representation of what Nigeria sounds like. That’s what makes you Nigerian, and that’s what makes you authentic.
How much of your identity as an artist is tied to being Nigerian, versus wanting to be seen as a global rapper?
Blaqbonez: For me, all my goals come together in one: I want to be the greatest ever.
I’m not in the studio trying to make my music global, or trying not to make it global. I feel like music that goes crazy is simply music you create, put out into the world, and people go crazy for. I am who I am. I definitely feel that my sound transcends Nigeria’s borders. In my head, my music will always sound global, but it’s not something I consciously try to achieve or avoid. I’m just going to make my music and watch it travel.
What’s something about the Nigerian music industry’s business side that people outside the country don’t fully understand?
Blaqbonez: I don’t know, man. I guess everything is a lesson. Every step teaches you something, and what feels right to you might not be right for somebody else.
For me, I’m just someone who stays steadfast and keeps working hard. I keep showing up to work every day. That’s my thing.
Walk us through what you’re wearing right now. Is your studio fit a completely different vibe from your stage fit?
Blaqbonez: Definitely. My studio fit is always different from my stage fit because the studio is all about being comfortable/super comfortable. This is more of a stage fit. The jacket is by Tokyo James, and it’s super hard. The bag is by Tokyo James, too. Then I’ve got regular pants and Balenciaga shoes.
How much does fashion feed into the way you make music? Does dressing a certain way put you in a different creative headspace?
Blaqbonez: Yeah, because fashion is something I talk about a lot in my music. I talk about how I feel, how I look and what I’m doing. So I have to look fly to have some fly stuff to talk about.
Nigerian street style and rap fashion have changed a lot over the last five years. Where do you think you’ve influenced that change, and where have you drawn inspiration from?
Blaqbonez: I wear a lot of Nigerian streetwear, so I’m sure a lot of people see me wearing it and get inspired. I’m the coolest guy on the planet, so obviously people want to be like me!
As for inspiration, I’m always trying new things. I feel like I pick ideas out of the sky, out of space. Sometimes I just want to bring things into existence that don’t exist yet. I like experimenting and trying whatever comes to mind. But, of course, I admire people who dress really well. Skepta is super fly, and Kendrick is super fly, too.
Describe the mood of your outfits in one word.
Blaqbonez: Goth. I feel like I’m really into black right now. I love chrome, too.
What are your five essential fashion items?
Blaqbonez: You need a nice pair of boots, some black pants, a white T-shirt, a nice bag, and a jacket. And for me, definitely glasses. I always wear glasses, so I’d need them if I had to survive for ten days with only five items. An everyday person might be able to do without them, but I can’t. And finally, some nice chains.
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PHOTO CREDIT: @buyilumi
