“This is not just music, it's consciousness brought to reality 

through sound and storytelling. 

I really wanted to name the project Conscious music but I felt 

Life in the Trenches fits better.”- TillDayBreak 


TillDayBreak pka TDB is a Lagos-born storyteller capturing the 

unfiltered reality of the average Nigerian youth. 

Through the lens of hip-hop and Afro-fusion, he documents the 

everyday trenches lifestyle - a relatable cocktail of societal issues. 


The thematic focus of Life in the Trenches spans from domestic 

violence to the hustle spirit and even black tax to the hidden costs 

of survival in modern Lagos. 

Of notable mention is the theme of the glorification of fraudulent 

businesses in our society today. His latest project, Life in the Trenches, 

is not just music; it’s a social diary.

Following the successful release of Love in the Trenches EP (2023) and Heartwork EP (2024), an emotional and vulnerable exploration of love, passion, tough decisions, and losses, Life in the Trenches is set to drop on the 10th of October, 2025. 

On this project, TillDayBreak transforms youthful struggles into sound. The project is not about glorifying hardship; it’s about documenting it using music, real community stories, and viral social experiments to hold up a mirror to the life many live but rarely hear about.




Creative Currents with Barbara Alli
Issue 5.0 Sep. 2025
Interview Conducted by Motirolaoluwa Kolade
Design by Chiagozie Mbuba

Q. Who is Barbara Alli?

A. Barbara Alli is a singer, songwriter, fashion designer, and storyteller. At my core, I am a woman who believes in using creativity as a tool to inspire, uplift, and connect people. I like to describe myself as a dreamer and a doer, someone who channels her African roots and global experiences into music and art that speaks to the heart.

Q. Your style of music (Afro-soul) is peculiar. What inspires your music?

A. My inspiration comes from life itself; from my journey, from people’s stories, from love, faith, and even struggles. Afro-soul allows me to blend African rhythms with heartfelt emotions, creating music that is both deeply rooted and universally relatable. My greatest inspiration is the desire to heal and to give hope through sound.

Q. You have been quite an adventurer. From being born in Ghana, to growing in Nigeria, and now living in Vienna. Would you say that influences your creative process?

A. Absolutely. Each place has shaped me. Ghana gave me my cultural foundation, Nigeria gave me strength, energy, and resilience, and Vienna exposed me to diversity, art, and new perspectives. All of these experiences influence my sound, my lyrics, and even how I perform. I like to think of my music as a bridge between Africa and the world.



Q. Your new single, ASIKO which means “time” in Yoruba; what was the inspiration behind the title?

A. ASIKO came from a place of reflection. I was thinking about how everything in life has its own timing — whether it’s success, healing, love, or even pain. Sometimes we want things to happen quickly, but God has His perfect time. That’s what inspired me to call the song ASIKO. It’s a reminder that we are exactly where we need to be at this moment.

Q. You have said ASIKO is a very emotional piece for you. How was the creative process through the writing and recording of the song?

A. It was a very emotional and spiritual journey. I wrote ASIKO during a period of transition in my life, so every word carried a piece of my soul. Recording it was almost like therapy for me — I had to be vulnerable and honest, and I allowed myself to feel every emotion while laying down the vocals.

Q. Was there any point during the creative process that stuck out to you or made you almost give up?

A. Yes, there was a point where I questioned myself  wondering if the world was ready to hear such a vulnerable side of me. But that doubt was exactly why I knew I had to release it. Music isn’t about perfection; it’s about truth. That realization pushed me to keep going.


Q. What is your biggest motivation to keep releasing music?

A. My biggest motivation is the people. Every time someone tells me that my music gave them strength, peace, or joy, it reminds me of why I started. Music is my gift, and I feel a responsibility to share it with the world.

Q. As a personal piece to you, when people listen to ASIKO, what do you expect them to feel?

A. I want people to feel hope. I want them to know that even if life feels delayed or uncertain, their time will surely come. ASIKO is about patience, faith, and trust in God’s timing. If listeners walk away with that reassurance, then I’ve done my job.

Q. What is one event that has stuck out to you since the release of ASIKO?

A. One moment that touched me was when a fan reached out and said the song helped them through a very difficult season. That feedback reminded me that music is bigger than charts or numbers; it’s about touching lives.

Q. What’s next for Barbara Alli? Should we be expecting a new single, concert, or anything?

A. Yes, there’s so much in the works! After ASIKO, my ILEYA is coming soon, and it’s a body of liberation and empowerment. I’m also planning live performances and collaborations that will allow me to connect with my fans more closely. The journey has just begun.

Q. What is your advice to people, especially women, who want to get into the entertainment or music industry but feel like it is too constricted?

A. My advice is: do not wait for permission to shine. The industry has its challenges, but your uniqueness is your power. Stay true to your vision, surround yourself with people who believe in you, and never underestimate the strength of consistency. As women, our voices matter, and the world needs to hear them.

Rising Nigerian artist TØDI OJ (formerly known as Pricelessay) is set to release his debut single under his rebranded identity, “Fall,” on September 26th, 2025. A confessional Afro-house track that blurs the line between love song and emotional outpour, Fall captures the intensity of yearning, vulnerability, and the fragile balance between desire and despair.

Built on sultry, percussion-driven production, “Fall” pulls listeners into a whirlwind of passion and mental fragility. TØDI OJ delivers haunting lyrics like “If you ever leave I’m suicidal” and “Need you closer, girl I am going blind” with unfiltered honesty, revealing the darker edges of attachment. The verses shift between raw confessions and vivid nightlife imagery, reflecting both his inner turmoil and the rhythm of the world outside.



At its core, “Fall” is both deeply personal and universally relatable; a tragic love song that still moves with the energy of the dancefloor. The hypnotic “Be re ko jo oh” chant anchors the track, offering a rhythm that’s as addictive as it is cathartic.

“Fall is more than a love song, it’s a confessional. I wanted to explore the messiness of love, dependency, and mental health with no filters. It’s vulnerable, but it still has that pulse you can move to,” says TØDI OJ.

Formerly known as Pricelessay, TØDI OJ has spent the past few years refining his artistry, experimenting with sound, and building a voice that fuses emotion, rhythm, and reflection. Born and raised in Lagos, he draws inspiration from his environment and personal experiences, crafting music that always stems from truth. With “Fall,” he steps fully into his new era — one defined by fearless storytelling, melodic intensity, and raw honesty.

“Fall” is a must-listen for fans of emotionally charged storytelling layered over irresistible rhythm. It’s a song that dares to say what many feel but rarely admit.

Listen Here: https://onerpm.link/-fall

Follow TØDI OJ on: 

Instagram: @todi_oj | X/Twitter: @todi_oj

Big Banju: Go Big or Go Home

Music And Moments with Big Banju
Issue 13.0 (Sep. 2025)
Interview Conducted by Olulana Mofiyinfoluwa
Design by Chiagozie Mbuba

Q: You were born in Akwa Ibom, grew up in Ondo, and now you’re in Lagos. How have these different environments shaped your music?

Big Banju: The music scene in Ondo is very different from Lagos. Lagos is the best place to make music; it pushes you to adapt. Before I moved here, my sound was different. But Lagos changed my style and I like the direction it’s taken.

Q: You’re quiet offstage but your lyrics are powerful. Who influenced your sound as you were coming up and any chance of a collaboration with them?

Big Banju: The big names; Olamide, Wizkid, and Davido. It will happen definitely. Maybe not right now, but it will.

Q: I’d say ADA really put you in the spotlight. What’s the story behind creating that song and why did you feel it was the right way to introduce yourself as an artist?

Big Banju: I record music based on real experiences, not just random ideas. Honestly, I went through a heartbreak, that’s what inspired ADA. I wanted people to first hear the truth of what I was going through.

Q: Before the EP dropped, while you were making music, when did you realize you weren’t just making songs you were actually preserving culture?


Big Banju: After I released ADA, I saw how people responded even artists like M.I, Blaqbonez and Zlatan commented. That made me feel like, “Okay, I’m not small. I’m making an impact”. That’s when I decided to drop the Who Is Big Banju EP.


                                                 


Q: What’s the story behind creating “Who Is Big Banju” and what did you want people to discover while listening to it?

Big Banju: When I released ADA, people kept commenting, “Who is Big Banju?”
So I decided it was time to show them that Big Banju isn’t small at all. That’s why I dropped the EP to let people know exactly who I am and what I stand for.

Q: How did the name Big Banju itself come about?

Big Banju's Manager: The industry is crowded, so we wanted something that stood out. His name was already Banju, and we thought, “That’s simple but how do we make it bigger?”
We said, “Go big or go home.” So we added “Big” to the name. It’s a mindset: in everything; music videos, collaborations, marketing; we go big or we don’t bother.

Q: Tell me about the creative process behind the seven songs on the EP. What’s the theme?

Big Banju: If you listen from track one to seven; Bless Me to Taboo you’ll notice different moods. Some songs came together like freestyles.
One day I was in the studio with Cater and we just started vibing no lyrics written down, just energy.
But Bless Me is different; I started writing it back in 2018. Every line is intentional. For me, once you’re in the studio you should create something meaningful that people will want to listen to.

Q: The EP features two notable collaborations. Let’s start with In Love With You. How did that track happen?

Big Banju: I had already recorded the song. Then Zlatan commented on one of my posts, something like, “Big Banju, what’s happening?”
My label boss asked me which artist I’d love to feature, and I said Zlatan. I thought he was joking when he said, “No problem.”
The next day he told me, “You and Zlatan are recording together.”
I went to Zlatan’s studio, played him my songs and he said, “This In Love With You is the one.” We replaced my second verse with his.

Q: Those hyper-aggressive ads were my first introduction to you. I remember Zlatan saying, “Why would you spend 400 million naira on ads?” Was that actually real? Whether it was or not, the rollout was perfect. After the buzz everyone kept asking, “Who is Big Banju?” and then you dropped the EP. I think it was genius.

Big Banju: The credit really goes to my record label Explorer Music Group. They were the brains behind that entire rollout.

Q: You’re known to be very reserved. Even though your name is out there and you’re in the spotlight, you’re a very private person. How do you balance that quiet personality with the demands of being a public figure?

Big Banju: Growing up, I mostly stayed with my dad and I wasn’t the type to make a lot of friends. I got used to being on my own.
But even if you’re naturally quiet, when it comes to business you have to show up. I take my work seriously, I’m focused and I don’t play when it comes to business.




Q: In an earlier interview you said, “Listen to my lyrics, not my personality.” What do you mean by that?

Big Banju: When you go to church, you’re there to worship God, not people.
It’s the same with music: don’t judge the artist, just listen to the music. Don’t listen because you like or dislike me; listen because of what the music says.

Q: Have you ever performed any of your songs live?

Big Banju: Yes, I have.

Q: What was that experience like? What moment on stage has stayed with you the most?

Big Banju: There’s nothing like performing and having your guys show up to support you. That kind of energy, I don’t take it for granted.

Q: What’s been your biggest challenge breaking into the industry?

Big Banju: I come from a family where nobody is in the public eye.
Even as a kid, I told myself: when I grow up, I want to be a musician, an artist, to be famous. I prayed for it.
My biggest challenge was simply making sure I broke into the industry because I knew if I didn’t, I’d regret it.

Q: If you could lock in a dream collaboration, who would it be and what kind of record would you want to make?

Big Banju: For now I can’t name anyone specific. I just pray that whenever the opportunity comes and it’s with a legend, I’ll embrace it.

Q: Where do you see Big Banju in the next five years, beyond just releasing singles?

Big Banju: I want to be sitting at the same table as people like Dangote and Elon Musk right there with them.


Big Banju: Let me ask you a question. When you call me “Big Banju,” how does it make you feel?

Interviewer: It feels like I’m speaking to someone truly big. Saying “Big Banju” feels like calling Wizkid “Big Wiz.”


 

Music is a universal language which we all understand and express ourselves with, regardless of its many genres. These words hold meaning to every artiste, none more so than those in Nigeria’s underground music scene. Not because they try to appear tethered to some ideal the music industry deems pivotal but because they explore the nuances and often discarded elements of music to weave a musical tapestry rich in originality, thought, constant experimentation and vibes.


For most underground artistes, the goals are simple: (1) to position themselves within the larger conversation about how music should interweave with storytelling and self-expression, and (2) to assert autonomy from mainstream ideologies about how music should sound. This intention is evident in the way they create. With digital streaming platforms like Spotify making it easier for artistes to earn, many now prioritize popularity. Unfortunately, a large percentage of audiences tend to favor familiarity over authenticity, causing many artistes to conform, folding these popular elements into their sound. As a result, creative experimentation and evolution have become scarce in Nigeria’s contemporary music industry.


This raises a bigger question: what really is the future of Afrobeats—Nigeria’s biggest music genre, which is now a global topic. The answer may lie with underground artistes like Palmwine, OrgnalBadGuy, Mide Fash and GRNDMSTR, whose creative processes have evolved to reject the easy formula and create a loyal following that loves and appreciates how their sound breathes fresh air into Nigeria’s music landscape. This isn’t about hype but understanding a movement poised to bring change to Nigeria’s music industry and documenting their strides into a record for the world to read.

 

“WHY MUSIC?” - TRACING THE SPARK BEHIND THEIR  SOUND

Before they built their community, there was a moment where it all began. For Palmwine, OrgnalBadGuy, Mide Fash and GRNDMSTR, the moment wasn’t about fame or making it to former president Barack Obama’s infamous playlist. It was about the feeling of music and what it meant to them.

Palmwine

Palmwine traces his love for music to his parents. “Growing up, my parents always had house music and the classics playing…and this was way before I started listening to Afrobeats or Nigerian artistes”, he says. With these early influences, he began mixing and mastering different sounds and elements, eventually becoming a DJ. While many might think that a DJ’s creative process depends on what others release, Palmwine disproves this theory. His sonically charged tunes at Palmwine ‘N’ Friends (PnF) showcase an ability to fuse otherwise incompatible genres. A powerhouse of musical malleability whenever he’s on the DJ deck, he exemplifies what it means when we say music comes from the heart and then some.


For OrgnalBadGuy (OBG), music has always been a means of “escape. I have a pretty busy mind and my mind works with my eyes. Anywhere I am, I’m observing everything unconsciously and compulsively and it’s very disturbing ‘cause it means I can’t really focus…and music was an escape from that. Then my dad got these Airpods with foreign songs, like blues and reggae.” A look at his discography, which includes hits like Ol Soja and features on Happiness Is A Choice and Ain’t No Way with Yohanan Irnsd, shows how he draws from various genres to create an eclectic sound. His evocative lyrics on emotional beats give his music a diaristic trait that connects deeply with his audience.

Palmwine

Mide Fash recalls that making music was “something I have always enjoyed. I have always enjoyed singing. I was in the choir for most of my life, from playing the violin and guitar”. She adds further that “being able to sing is different from being able to make music. It’s something that I have always wanted to do. With tracks like Manipulator and Gold and Fire, spanning Afro-Soul, Alternative R & B and house music, she gives listeners a taste of what it self-love and appreciation feels like  while encouraging unapologetic self-expression, tapping into her rich literary background and her velvet, luxurious voice to do so as well.


GRNDMSTR, in his words, felt “music was the only thing I could do.” While this comes off as being modest, his lyrics are saying something else. Lines like “I’m working hard so my mother can go testify/That I don’t have to worry bout my father’s will when he dies/Nigga ask about me, I’m a hustler” off Hustle O with Sosa.ttw or “Stuck in traffic since 7pm/On my way home from work since 7am/ My cooking gas e don finish and I gatz buy fuel for gen so tell me wetin really concern me with nashona item”, off his 2024 hit, Nashona Item, reveal an artiste combining his personal struggles with external experiences to fuel his cadence, whether he’s leaning towards heartfelt or hard-hitting tracks.


With their own words, these artistes share a commitment to substance over that most underground artistes have in common and that the current Nigerian music industry sorely needs.

 

HOW THE PERSON BEHIND THE MUSIC SHAPES THE SOUND

Channeling their sparks help define who they are. In turn, this shapes their sound. For these artistes, music means translating themselves into something their audience can hear and feel. The quiet ones tend to create beats that speak louder than their words could. The rebels build sounds that refuse to fit in. The dreamers layer their songs with textures that mirror their inner world.

OrgnalBadGuy(OBG)

Take Palmwine. When he’s not behind the deck or testing beats,
“I’m a very quiet guy. I’m usually playing games or indoors when I’m off the clock”. Yet, music simmers beneath the surface. “Even when I’m playing games, I can still be cooking up some beats in my head and when its starting to make sense, I just pause the game, bring out my deck, cause I have a personal DJ deck at home, and just start playing the beats I have in my head to see what works”, he says. His quiet nature fuels a rhythm that transforms into aura capable of filling any space. To grasp this, you really should hear his set at PnF.


OBG describes himself as “just a regular guy” outside his music. “To be honest, sometimes, I don’t think my music is special itself. I think it's how I see music and how I can envision it but even at that, I consider myself a creative still because I can create in any form whatsoever. I can influence the creation of art in any form. Music is just so predominant in my way of expression”. This “regularness” might make him blend into the crowd but it allows for a genre-bending shift when he creates music. His songs become layered maps of what he’d never say any other day.

OrgnalBadGuy(OBG)

Outside her sound, Mide Fash simply sees herself as “someone that likes to enjoy life. I enjoy silence, the company of my friends. I enjoy living life. My purpose is to enjoy life, chill and have a good time. I like to consider myself as someone with a lot of soul who’s learning every single time.” On how this persona shows up in her sound, Fash says “a lot of my songs are about worship and when you listen to it, you’ll hear that I’m talking about how I liked to be worshipped, carried and even when I make love songs, you’ll hear a lot of devotion to myself in it because I’ a passionate person.”


This pattern continues with GRNDMSTR. “I’m a very introverted person. I think I can say I have a sense of humour and it’s usually hard to find me. I’m in my house sleeping.” But this quietness vanishes the moment he hops on a beat, especially when rapping. “I don’t think my introverted side shows up when I’m making music, particularly when I rap,” he says. Where his daily life might be defined by the calm and reserve, his tracks erupt with raw emotion, rapid flows and unpredictable switches in style and intensity.


What’s clear here is that their music doesn’t just mirror who they appear to be but pushes beyond it, with each of them poised to build a path true to who they are.

 

HOW TODAY’S UNDERGROUND ARTISTS ARE DOING IT DIFFERENTLY

Without a how, the meaning behind why and who won’t matter. For these artistes, success isn’t trying to fit into an existing sound or genre but reshaping the music industry by experimenting with styles and blending influences to evolve and solidify who they are as artistes. But what does this look like in practice?

MideFash

For Palmwine, his secret is his community and listening to them. “My guy, Joe, loves amapiano and another friend, Subomi, loves anything trap. Both of them helped start PnF. So, one day, I was just playing around with some beats on my virtual DJ on my system with my guys at my place and everyone liked what they were vibing too. People often think that I come up with the beats myself but that’s not the case. I make sure to listen to what my guys tell me while fusing it with what I like as well”, he says.


OBG reflects on how his process has evolved. “When I started out, I’d have to hear the beat first then take a week to write the lyrics. As time went on, I got confident and started freestyling which I turned into actual songs so my writing became something I did the moment I heard the beat instead of waiting until after a week, which is something I’ve mastered now. But because I prefer to take it slow with my music, now, I just write songs without beats or create melodies without lyrics so the creative process is disconnected sometimes, only for everything to make sense in the end. It really depends on how the songs come”.

MideFash

For Mide Fash, it starts with a mindset. “Every single time I go to the studio, I always take a selfie with the caption ‘On my way to make my next hit’. I usually don’t know what genre I’m going to sing, I just know that I’m going to the studio, have a good time and make a hit. But I make sure to make music I’d want to hear, like I make it for myself”.


GRNDMSTR describes his process as instinctive. “The way I envision a song in my head, however it is or how I feel about it, is how I create it so there’s no standard way I do it. If it’s singing that comes to mind, that’s fine. If it’s rap, that’s fine as well. This implies that his creative process has evolved to either be fluid-driven, instinctive, or conversational, the latter being the inspiration behind his 2025 hit, Nashona Antem.


 Together, each of them show that doing things differently isn’t about rejecting structure for its own sake but about building new ones that reflect who they are as artistes and where they want music to go next, further cementing  just how diverse the underground’s creative evolution really is.

 

A MOVEMENT IN THE MAKING

Across Palmwine, OBG, Mide Fash and GRNDMSTR, the surface-level differences in how they create are striking - Palmwine’s sound is built on community energy, which he steer using his own influences; OBG’s on an evolving personal rhythm between structure and spontaneity, Mide Fash’s on feeling and feeling and fearless self-expression and GRNDMSTR runs on raw instinct and mood. Yet, they share an understanding to refuse to let trends dictate their sound, be original and experiment.

GRNDMSTR

Their unifying factor is a common ideal to create music that means something, music that carries the weight of their lived experiences and offers them space for both themselves and others of like minds to feel seen and vibe to. In turn, this evolved their creative process to an extent that, unlike much of the mainstream, isn’t focused on copying industry strategies. It’s about writing new blueprints that stay true to who they are, while challenging what Nigerian music can be.

GRNDMSTR

In their industry and cadence, one can see the beginning of a quiet revolution - a movement driven by intention. One that insists that the future of the Nigerian music landscape won’t be shaped only by what fills the clubs or climbs the charts but by those who dare to break the glass ceiling and build something new.

Most likely, this is the most powerful thing about today’s underground music scene in that it reminds us that the future of music belongs to those who create without fear of where it might lead.