Music is a world of endless possibilities, and for SirBastien, it’s a playground where sound, emotion, and innovation collide. The Nigerian-born producer, Grammy-nominated sound engineer, and artist has spent years refining his craft, creating music that seamlessly blends Pop, Electro, and Afrobeats into something uniquely his own.
From his early projects, Mango and Mango Island, to his work on Rihanna’s Lift Me Up for the Black Panther: Wakanda Forever soundtrack, SirBastien has carved out a space where soulful melodies and intricate production meet. As he prepares to release his latest EP, Jungle Flakes, he’s stepping into a new chapter that promises an even deeper dive into his evolving artistry.
We caught up with SirBastien during his visit to Lagos, just before returning to Paris in March 2025. With the first single, Talking in Signs, already setting the tone, Jungle Flakes captures the delicate balance between life’s simplicity and its complexities. Recorded across Liège, Paris, and Johannesburg, the project reflects his signature approach—melding acoustic warmth with electronic precision.
In this conversation, he takes us through his creative process, the people and places shaping his sound, and what’s next for him in the ever-expanding world of music.
Settle in and stay locked—this conversation with SirBastien is a journey through sound, creativity, and boundless imagination. Step into the mind of a sonic architect, a true visionary shaping melodies that transcend borders and connect souls.
Early Beginnings: A Passion Fueled by Experimentation
MC: Can you share a bit about your background in music before you started traveling? How did your journey with music begin, and were there any early influences that shaped your passion for it?
Sirbastien: Music started for me in Ibadan, driven by passion, not career plans. I was playing guitar, not very well, and began experimenting with production out of necessity while working with an artist. I set up a DIY studio in my parents’ garage, and after a while, someone paid me for a session, which opened my eyes to the possibilities. I invested in better equipment, and as I improved my recordings, I realized I needed to learn mixing to take it further. From there, I built a network in Lagos, started performing, and eventually worked on the Black Panther album.
Moving to Europe was challenging, but I’ve managed to build a new network in France. It’s been nearly a decade since I started this journey, with my first single released in 2019. I’ve learned a lot along the way, and I’m excited to continue growing.
Crafting Sound: The Role of Instruments in Production
MC: You’re known for playing multiple instruments, which isn’t typical for many producers. How has your ability to play these instruments influenced your music production, and how does it help you shape the sound of your tracks?
Sirbastien: I play guitar and bass as my primary instruments, and I also play drums. My skills on the piano aren’t as strong, but I can manage. If I know what I want to play, I’ll search for it on the piano until I get it right. With guitar and bass, though, my hands and brain are really well connected. If I hear a sound, I don’t have to think about it too much – I just know what to play, and that helps me get things going quickly. I don’t let ideas sit in my head for too long before bringing them to life on the computer.
When I’m done composing a song, adding bass, guitar, and drums, I take a step back. I switch from my composing hat to my arrangement hat, taking time to think about how I can make one part flow seamlessly into the next and how everything can come together cohesively. I’ve been focusing on making this process a big part of my authenticity, and I want people to recognize me for my guitars.
Sirbastien´s Creative Process: From Concept to Completion
MC: When you begin a new track, do you have a specific creative process? Do you start with a melody, a beat, or something else? How does your approach evolve depending on the type of project you’re working on?
Sirbastien: My creative process depends on the project. Since I’m a producer first, then an artist, I do a lot of sessions for others, which means I have to study their sound—what they’ve done before, what they’re listening to—so I can take them somewhere new.
For example, I had a session with a French singer at a seminar. She’s a deep writer, so I knew her voice had to be crystal clear. That meant cutting back on instruments and making sure she could articulate every word. Once I understood those constraints, the next step was adding my own touch—what could I bring to elevate her sound?
This is where I go back to my music library. I love how Gorillaz uses drum and bass to carry emotion without relying on a piano. That kind of thing inspires me. Lately, I’ve become a total music nerd, always thinking about what gives a song its feeling. That’s just the growing-upness of it all for me.
Wearing Multiple Hats: Balancing Production, Engineering, and Artistry
MC: As someone who wears multiple hats – a producer, sound engineer, composer, and artist – how do you balance these roles? Which one resonates with you the most, and how do you manage to juggle them all effectively?
Sirbastien: I think everything feeds into each other. When I work on a song with an artist, I make sure that by the end of the day, the music is fully written, fully arranged, and essentially demo-ready—something that could actually be released. Not a lot of people can do that. Some are incredible composers, but their work isn’t polished. I can hear what they’re going for, what’s missing, and how to complete it.
Most times, artists need separate people for different stages—someone to mix, someone to arrange—especially if the composer doesn’t fully understand song structure. But the more hands involved, the longer it takes and the more expensive it gets. I think it really helps when one person can do it all without having to pass the track around.
For me, everything plays in my head at once—I’m composing, arranging, mixing—making sure the project feels complete. But if I’m needed for just one thing, like mixing, I can do that too. Though, honestly, it gets a little boring sometimes because I’ll hear parts I wish I could tweak in the arrangement. But I just focused on my role and got it done.
MC: You’ve worked with artists like Kold, Lady Donli, Teni, and Maya Amolo. How do you approach collaborating with different musicians, and is there a particular moment from these collaborations that stands out to you?
Sirbastien: There’s this guy named Versa—I met him recently in Paris, and we’ve already made three songs together. That was a standout experience for me because he was a fan of my work and understood my references. From the moment we linked up, it felt like we were on the same wavelength. He knew what I liked, and he liked the same things, so when we made music, it just clicked.
By the end of it, the songs felt perfect to me—I listen to them every day. I even told him straight up that I want to be his producer, that whatever music he wants to make, I’d love to be part of it. It really just comes down to meeting people by chance and being open to who they are, what they like, and what they bring to the table.
Then there’s an artist I met in Ghana last week—her name is Traygan. When we first connected, I could tell she lacked some experience since she’d only released one song before. Working with her was a bit challenging at first because she wasn’t familiar with a lot of recording techniques, and I’m someone who works super fast. But she took her time with the process, and even though I was stressed in the beginning, the result was fantastic. I had this moment where I was like, “Yeah, this person has earned my respect.” She’s cool, wears her heart on her sleeve, and is just real about everything. It’s always refreshing to meet artists who are open and fully invested in their music—that was another standout moment for me.
MC: Your latest single, “Talking in Signs,” blends Afrobeats with electronic music. What inspired this fusion, and how does this track reflect your evolution as an artist and producer?
Sirbastien: I had just moved to Belgium when I made that song—it was one of the first tracks I worked on for this next EP ´Jungle Flakes´I wanted to dive fully into House music, and while going through one of Sarz’s beat packs, I found this loop—a konga sound that had exactly the kind of sensibility I was looking for. It carried that electronic-house feel, especially with the vocal samples, and there was just this groove in it that I connected with instantly.
Making it was such an enjoyable process. It wasn’t necessarily my standout track since my mind tends to drift back to my usual guitar-driven process, but it was exciting to step into something different and experiment with that sound.
Looking Ahead: The Future of Afrobeats and SirBastien’s Role in It
MC: Given your deep involvement in the Afrobeats scene, where do you see the genre heading in the next few years? What role do you hope to play in shaping its future?
Sirbastien: Since moving to Lagos, one thing that’s really stood out to me is the growing influence of DJs. I genuinely think they’re going to change how music is consumed in Nigeria. I don’t know if it’ll evolve the same way mega tours and stadium shows are taking over, but if it does, fingers crossed—I’d love to see that happen because it benefits all of us.
Right now, I see more DJs pushing boundaries, playing Boiler Room-style sets, and championing electronic music in Nigeria. I think we’ll be seeing more fusion—two-step blended with Afrobeats, tribal house mixed into something new. More sets in Lagos, Abuja, and then exporting that energy to London, Paris, and Berlin. It’s going to thrive in underground spaces first, with the underdog creatives doing the most impressive things. That, to me, is the future mainstream.
MC: For young creatives trying to break into music production, sound engineering, and the broader music industry, what advice would you offer, especially considering your journey as both a musician and an engineer?
Sirbastien: My advice to anyone would be to just keep practicing and never see any goal as too far out of reach. I hear a lot of people talk about their limitations—saying they don’t have a good microphone, or they’re missing this or that—but there’s always a way around things. It’s really about figuring it out, and the more you push through those obstacles, the better you get.
MC: Looking ahead, what projects or collaborations are you excited about? Are there any new directions you’re planning to explore in your music career that you’re particularly passionate about?
Sirbastien: Yeah, I’ve been getting into a lot more live concerts lately. I did a show recently in Paris—I’ll be posting about it soon—and I’ve got a couple more lined up there. It feels like I’m gradually finding my footing in the live scene, which is a whole new and exciting space for me. It’s something I’m still learning how to do properly, but I’m working on it.
As for collaborations, I’ve been working with a lot of artists in Paris, trying to bring my own references into the mix to create something unique. I’ve been in sessions with Ehla Luciani, producing some tracks for her, and just meeting different people to build stronger connections and see where things go.
We wish we had more time to unravel the layers of SirBastien’s journey, but the clock wasn’t on our side. One thing’s certain, though—we’re already looking forward to our next deep dive with him. Until then, we’ll be soaking in his intricate productions, counting down to Jungle Flakes, and indulging in his interesting social media content rollouts.
To our fellow music lovers, we urge you to stay locked in—dive into SirBastien’s discography, keep an eye out for his upcoming collaborations, and witness the brilliance he continues to unfold. And, of course, stay tuned for more exciting features with Music Custodian!
