WUMIDANZ: They Didn't See Us Coming

How did your journey into sound begin? Was it love at first mic, or did it grow on you? How did your journey into sound begin? Was it love at first mic, or did it grow on you?

I’d say it was a mix of both. My journey into sound started around age 12. One of my dad’s friends took it upon himself to teach me music theory since he saw my curiosity in it—which, let’s be honest, is the tough part most people avoid. But once I got a grip on that foundation, everything started to unfold. Along the way, I invested in my growth by attending a professional music school. That gave me a solid foundation and exposed me to training from both local and international musicians, I remembered playing my first musical symphony (playing and reading music sheet with a conductor to direct our movement, a full orchestra) with full orchestra in music school then, being thought by foreign guys shaped my fundamentals and perspective on things a lot and while at the orchestra I found it funny how Nigerians and foreigners where working together to bring a beautiful piece to life, I really think Nigerians are really underrated, when it comes to skill cause we were all kids then and that was our very first symphony and yet it was beautiful. This made me want beyond average in my music. Their insights helped sharpen my skill set and deepen my understanding of sound beyond just playing.

From the beginning, I had a mindset wired for growth. I wasn’t chasing perfection—I just wanted to be better than I was yesterday. That mindset led me to the keyboard, which became my core instrument. I practiced relentlessly, taking my own keyboard to church and placing it beside the main pianist just to build confidence, even when my hands still felt stiff. Eventually, I began swapping in on the main keyboard and naturally took over when the pianist relocated. Being in boarding school, I didn’t resonate with the local style of playing. So I took things into my own hands, learning online from foreign musicians, paying for classes, and practicing like crazy. I didn’t just follow tutorials—I discovered my own methods and playing styles from sheer consistency. One key moment was when I realized I kept getting musical ideas while playing—like full beats and melodies in my head. I just didn’t have a way to capture them yet. That curiosity pulled me deeper. Over time, I became the go-to pianist in church, and my skills took me across states for events. I still laugh remembering the time my mum picked me up on midterm break just to brief me on a wedding gig the next day. I went straight from school to rehearsal till midnight, slept, and was off to another state by morning for the event I'd be playing at. The shift into music production came later in high school. In SS2 and SS3, we were allowed to bring laptops to school. Every Friday, we'd have these live performance sessions. I often joined the drum guys, and we’d put on our own little concerts. A friend once showed me a DJ software—just for fun—but when I tweaked it, something clicked. It was like a third eye-opener. I saw the endless possibilities of sound. Even though my Samsung notebook couldn't run proper DAWs, that moment sparked something. I dove into research and discovered the creative and financial potential of music production. That aligned perfectly with my long-term goals of wealth and freedom. Since then, it’s been a journey—one that’s only just beginning to pick up momentum.

You and Femi — your cousin — are both into sound. How did that even happen? Did one of you influence the other?

Funny enough, it all started while I was still in university. I was already experimenting with sound, working on personal projects, and teaching myself everything I could. I used to watch Femi’s WhatsApp status and noticed he was deep in the industry I dreamed of entering after my time at school. That’s when I decided to reach out and pitch myself. He asked me to send over some of my work. Looking back, it wasn’t great at all—but I was proud of it, and he never made me feel small. Femi encouraged me constantly and shared valuable resources that helped me grow. There was a period when I stopped sending updates because I had to focus on my final school project. But once I wrapped that up, I dove back into sound design and sent him new stuff. This time, he was genuinely surprised by how much I’d improved. Since then, we’ve collaborated on several projects.

"What’s it like working with someone you’re that close to? How do you handle creative disagreements with Femi?"

To be honest, it’s been good—really good to a large extent. Being family has definitely opened some wild and unexpected doors for me. I’ve been able to leverage our relationship in ways that have brought opportunities I might not have gotten otherwise. One thing I really appreciate is the space he gives me. Femi trusts my process—he doesn’t interfere unnecessarily, and that makes things flow smoothly. I value focus, so unnecessary interruptions tend to throw me off. But with him, it’s mostly been respectful and collaborative. That said, I’m currently in a season of rebranding—building my own identity while still collaborating and expanding my work across different brands, both locally and internationally. It’s been a solid foundation, and now I’m building on it in my own unique way.

Can you remember your very first sound gig? What was that experience like?

LMAO—yes, you never forget your first project. Unfortunately, I lost all access to it after my device crashed. This was before I switched to using cloud storage, so it’s completely gone. At the time, though? It felt like the best thing I’d ever created. I was so proud of it. Now, if I were to listen to it again, I’d probably cringe—because in hindsight, it was absolute trash by my current standards. But that just shows how far I’ve come. Growth is loud, even when your old files are gone.

What’s the most challenging part of sound production that most people don’t know about?

Lol- where do I even start? There’s a lot, especially on this side of the world. That’s part of why I’ve started working with foreign agents and seeking more international gigs. One major challenge is how undervalued scoring is. Most people don’t understand the role of a composer, let alone the impact we have on storytelling. Globally, composers are among the highest paid in the sound department because of the weight they carry—but over here, it’s often treated like a joke. Only a handful of directors, executives, and producers truly grasp the value, and that’s usually because they don’t tolerate mediocrity or they’ve been exposed to global standards. Just look at AMVCA—2025 is the first year they’re introducing a category for composers. That says a lot, considering how long they’ve been around. There’s also the long-standing issue of underpayment. But thankfully, that conversation is gaining serious traction. Many of us are now tapping into the international market, and it’s shifting the narrative. It’s becoming harder for local productions to offer peanuts when composers have access to better-paying gigs abroad. Another powerful shift happening now is on the business side: composers are beginning to work closely with their lawyers and teams to draft proper contracts—for publishing, distribution, royalty collection, and sync licensing. The awareness around building long-term wealth through intellectual property has never been more profound among composers here. We’re moving from just being creators to becoming structured professionals with ownership and leverage. Of course, challenges still exist, but I’m not big on dwelling on problems. I’m focused on solutions, sustainability, and pushing the craft forward. One major misconception people have about sound work in film is how little they understand the real process behind it. Take Parkinson’s Law for example—it states that work expands to fill the time available for its completion. A single one-hour score might take eight months to produce in foreign productions, with a full team and budget. But here? You’re often expected to achieve the same level of quality in just six weeks or less—and solo. It’s unrealistic, but that’s the environment. To work around that, I've invested heavily in high-quality plugins that make the process faster and more seamless. But here's the thing—those tools aren’t cheap. Getting close to international standards can cost you between $6,000 to $12,000 just on plugins. Yet many people still say things like “it’s just a score,” and expect that Hollywood-level sound. Another common misconception is confusing composers with music producers. A lot of people here can’t tell the difference. Composers are rare—even globally—because of the level of brainwork and structure involved. Unlike producers who may build beats or music around a vibe, a composer has to think strategically, emotionally, and narratively—all at once. The brain is constantly creating, innovating, and adapting under pressure, and that takes a real toll. Not everyone can maintain that level of creativity under tight timeframes. One thing interestingly the mental muscle composers develop directly strengthens their personal and business lives. For instance, the concept of psychology, flow state, and business innovation. Still, despite all this, we’re evolving. We find innovative, unheard-of ways to deliver world-class work in local timeframes. It’s tough—but it’s the challenge we’ve accepted.

The sound is invisible, but it’s powerful. What’s your philosophy when it comes to sound design or mixing?

Sound is invisible, but it shapes emotion, memory, and meaning—so I treat it like a force of nature. I don’t chase perfection; I chase progress. There’s always a better version waiting to be found, and that mindset keeps me evolving—not just as a composer, but as a thinker, entrepreneur, and strategist. I don’t believe in 'how it’s always been done.' The world moves fast—tech, taste, and tools. So I stay ahead. Having 10 years of experience doesn’t matter if it’s the same year repeated ten times. To me, true experience comes from constant innovation. People need to be allowed to be creative. I see so many parents shutting down their kids in the name of societal norms—when those norms are usually just average. Why aim for average when you can fly? Why not stand out? I’m forever grateful to my parents. As entrepreneurs, they never once undermined my path. Instead, they supported it fully. They saw it as liberation—an opportunity to own my life rather than slave away for others. That changed everything for me. Right now, I’m also learning to be open—truly open—to opportunity. I realized I have to think in millions to attract millions. And the moment I shifted into that mindset, results started coming in. It’s wild—but real. It’s not luck. It’s alignment. And beyond the music, I live. The music reflects the soul—so I make sure to feed mine. I read about finance, I study wealth creation, I build businesses, I create with AI, I grow skills in content, tech, and strategy, and I speak with friends with a similar mindset on growth. Family, have fun times once in a while and watch vlogs as I see myself evolving from the previous introvert I used to be into an ambivert leaning more on the extrovert. Everything I learn feeds into everything else. And when the mind grows, the sound grows too." 8)Advice to young creatives who are curious about sound but don’t know where to start? To be quite honest I am quite young myself and don't really think of this as an advice but like what works for me.

Be True to Yourself: This is the core of creativity. It's easy to get caught up in trends or what others are doing, but finding your own unique voice will help you stand out. Trust your instincts and embrace what excites you about sound and music. This authenticity will shine through your work.

Build Relationships: Having a network in the industry is invaluable. Friends and collaborators can offer support, advice, and opportunities. Don't be afraid to reach out, learn from others, and share your journey. Relationships in the creative world can be the bridge to your next big opportunity.

Constant Evolution: Growth doesn’t have to be huge strides. Even small, incremental improvements add up over time. Stay curious, try new techniques, learn new software, experiment with genres, and take every opportunity to grow. Consistency is key.

Educate Yourself in Finances: This is a big one. Creatives often struggle with the business side of things, but understanding the financial aspects of your career—from budgeting and saving to licensing and royalties—can ensure your creative journey is sustainable. Don’t wait until you face financial challenges; start learning now.

Balance Music and Life: As you mentioned, integrating music into your life rather than treating it as a separate entity will make it feel less like a job and more like a passion. Stay grounded in your personal life—family, friends, health—and find ways to incorporate music without sacrificing your well-being.

Embrace Frustration and Tenacity: Every creative journey has its tough moments. You’ll face rejection, doubts, and frustrations. The key is resilience. Keep pushing through, learn from setbacks, and keep your vision clear. Over time, you’ll learn to handle the mental challenges that come with being in a highly competitive and demanding industry.

Don't Let Finances Hold You Back: Music can be an expensive pursuit. If you don’t focus on securing financial stability, it can feel like a burden. Whether it's securing paid work or managing your budget to afford the gear and tools you need, taking care of your finances early will prevent burnout and regret.

Winning Mindset and Willingness to Improve: Never stop evolving. The music industry moves fast, and staying adaptable will keep you relevant. No matter where you are in your journey, there’s always room for improvement. Keep learning, keep creating, and keep believing in your potential.