We shed light on, for you to discover his path from a musical family background to becoming a celebrated producer, navigating the complexities of the Nigerian music industry and beyond.
In our exclusive interview, we delve into the artistic journey of BigFoot, a pivotal figure shaping the African music scene. From his early days crafting tracks for Project Fame West Africa to collaborating with icons like Brymo, Lindsei Abudei, The Cavemen, KOLD, Dwin The Stoic and so on, BigFoot blends technical prowess with a deep passion for AfroHouse and Electronic Dance Music.
Artistry & Early Journey
BigFoot recounts starting his music production journey in 2002 during his university years, influenced by family and icons like Pete Rock. His technical skills were honed through major projects, shaping his approach to music production and collaboration. Working on the ROOTS album with The Cavemen was a career highlight, emphasizing effortless collaboration and shared musical vision.
Challenges & Innovation
Facing the typical challenges of the Nigerian music scene, from equipment access to proving versatility beyond popular music, BigFoot remains committed to demonstrating the global capability of Nigerian producers. His growing interest in EDM showcases his adaptiveness, merging Afrohouse with EDM to innovate within the genre.
Collaborations & Future Plans
BigFoot’s collaboration with KOLD is highlighted by mutual creativity and energy, pushing musical boundaries. Looking ahead, he aims to foster a community of sound engineers and producers to elevate African music globally, maintaining a focus on innovation and quality
His narrative is not just about music production; it’s a testament to cultural influence and the relentless pursuit of artistic excellence. His story is a beacon for aspiring producers, offering insights into the creative and technical demands of the music industry.
Interview Excerpts Below
MC: Tell us about your journey as a music producer. What inspired you to pursue music production, and how long have you been producing?
BigFoot: I’ve been in music production and engineering for 22 years, starting back in 2002 at university. Growing up in a musical family and inspired by church music and hip-hop icons like Pete Rock and Kanye West, I embarked on this path. My significant break came while creating backing tracks for Project Fame, which sharpened my skills and solidified my passion for working with emerging artists.
MC: You’ve worked with the incredibly talented duo The Cavemen; can you tell us about your experience working with them and what you took away from that collaboration?
BigFoot: “Collaborating with The Cavemen has been an incredibly fulfilling journey since we first connected in 2018-2019. Kingsley primarily takes the lead on production, but I had the chance to work as the engineer on their ROOTS album, which was a pivotal experience for me. Over about 11 months, I produced tracks like Cave to the Moon and Down by the River, bringing my creative direction to these songs. The synergy with them was seamless, making the creative process effortless and inspiring.
My work with artists like Lindsey Abudei and Phola Prey has also expanded my creative lens, pushing me to explore new musical landscapes. I’m deliberate about collaborations, always seeking artists who challenge me musically. Reflecting on these experiences, I’ve been fortunate to contribute to the success of diverse, immensely talented artists, both in engineering and in crafting their musical narratives.”
MC: In an industry where egos and creative differences can sometimes clash, what’s your secret to maintaining harmony and getting the best out of your collaborations, even when opinions differ?
BigFoot: “I approach each session with an open mind, focused on drawing out the best in everyone involved rather than pushing my own ideas. If an artist trusts me to lead, I’ll guide the direction with my experience. But if they have a clear vision, I’ll step back and support that wholeheartedly. For me, collaboration means being willing to try different approaches and doing what’s best for the song, even if it requires letting go of my own preferences. Flexibility is essential; every track has its own unique needs, and I always aim to be adaptable to meet them.”
MC: How do you overcome creative blocks or challenges during the production and engineering process?
BigFoot: For engineering, it’s mostly technical, so blocks are rare. However, in production, especially personal projects, I might step away, switch tasks, or sometimes extend project timelines to realign creatively.
MC: What have been some of the biggest challenges you’ve faced as a producer in the Nigerian and broader African music industry?
BigFoot: “The Nigerian music landscape comes with its share of challenges, particularly when it comes to accessing quality equipment in a tough economy. Producers here often need to prove themselves repeatedly, especially with international collaborations, where we’re sometimes expected to only excel in popular local genres. Showing our versatility and consistently meeting high global standards is essential, even in local projects, to challenge these assumptions and expand the industry’s creative reach.”
MC: What drew you to EDM, and how do you plan to integrate it into your style?
BigFoot: My interest in Afro-House and Dance music has grown since around 2011. As the scene evolves, I’m actively producing original music and remixes in this genre, staying engaged with the community and drawing inspiration from global EDM trends.
MC: Do you think the Nigerian and African music scene is open to more EDM influences?
BigFoot: “Afro-electronic dance music is experiencing unprecedented growth as major artists embrace these sounds. Joeboy’s recent collaboration with French DJ duo Ofenbach and Asake’s ‘OH YEAH’ from the Lungu Boy album are prime examples. Increasingly, artists are blending Afro-house elements into their music, pointing to a vibrant future for the genre. DJs like Deji, Kevin Lndn, and Aniko are also making impactful contributions, adding depth and energy to this evolving scene.”
MC: Tell us about your working relationship with KOLD.
BigFoot: Meeting KOLD through our manager was a turning point. Her energy and creativity enrich our sessions, making our collaborative process both enjoyable and productive. We’re excited about our upcoming projects together.
MC: What are your future plans for pushing the boundaries of music production?
BigFoot: I aim to collaborate more broadly and foster a community through a Twitter group for African sound engineers. Sharing technical knowledge and creative ideas is vital for elevating our music on a global scale.
What does it take to work with BigFoot? Any fun stories to wrap up our chat?
“Working with me is straightforward—just reach out to Excel, and you’re good to go!” he says with a laugh. “I’m here to make great music, and I take the business side just as seriously. I love working with people who have solid structures in place because it’s about finding that balance between creativity and business.”
Despite an impressive list of accomplishments, BigFoot shows no signs of slowing down. His focus remains on breaking new ground, nurturing up-and-coming talent, and championing the rich culture he’s helped to elevate. With his eyes set firmly on the future, BigFoot’s impact on African music is only beginning to unfold—there’s so much more to come.
