Folabi Xan: Traplanta’s Mystery Man Takes Centre Stage
As a member of Traplanta, Folabi Xan is more renowned for "hiding" behind his eccentric trap flows on the collective's showy posse cuts. Now ready to step into his solo act, Xan's got a lot to say.
Folabi Xan isn’t a man of many words – or so it seems. One-fourth (now one-third) of the Atlanta-based hip hop and lifestyle collective, Traplanta, Xan has always seemed to shy away from the limelight. It’s a trait that isn’t so glaring, but with attentive observation, you could easily pick up the signs.
“Great to meet you,” he says to me, flashing a toothy grin. We’re at a popular bar & restaurant in Victoria Island, a sophisticated area in Lagos. The location is crowded and the air is thick with a flurry of freshly-imported accents – an age-old indicator that December in Lagos has begun. Xan is crouched in an imaginary corner of the room, scanning the audience from under a headful of loose twists. He’s no stranger to the crowd here though; he practically knows everyone in the room, but there’s a disconnect of some sort from the ongoing events of the night and all its incessant chatter. He’s in his own groove: drink in hand and head bobbing steadily to the jaunty music playing, occasionally pausing his routine to greet friends as they troop in. “I don’t care to speak if it’s not gonna be heard or received. I’m not the person that’s just telling you my opinion that you didn’t ask for, you know what I mean?” he tells me later, explaining the reason for his often perceived silence during our conversation at his Ikoyi home. “I think a lotta people just like to hear themselves talk or say things you already know, but I’ll never do that.”
Born Folabi Adebowale, the 22-year-old rapper leaves all the talking for when he’s in the booth. Although rapping was never a childhood dream for him, he’s embraced the path head-on. Being a member of Traplanta (along with rappers KA$H, OBA & formerly dndSection), Xan is in a class of young artists that laid the groundwork for the current alternative hip hop scene in Lagos – and Nigeria at large. Spending his early years shuffling between London, Lagos, Los Angeles and Atlanta exposed him to an array of contrasting cultures that helped shape his experiences and very existence, which reflects in his music. “I’m barely home [in Lagos]; I come back like thrice a decade,” he informs me, leaning back into his seat and crossing one white traditional attire-clad leg across the other. “If I always lived in Lagos, I wouldn’t be making music,” he adds matter-of-factly.
Let’s be grateful he didn’t always live here, though. Otherwise, we wouldn’t have had the opportunity to experience his sharp, cut-throat raps; witty, punchline-heavy bars and his peerless ability to weave in and out of both styles. Currently residing in Atlanta – where he’s in school for Fashion and Marketing – Xan’s sounds are a product of his years between the storied city and LA. “The influence your environment has on you is almost understated,” he explains, “Living in LA, that was where I found myself, but Atlanta was where I decided to get into music. Both cities have had a huge impact on my [journey]. You can’t take away one from the other.”
We speak for an hour and he opens up about a lot. Who is Folabi Xan really? What’s his story? And what are his thoughts on this scene he and his friends unknowingly kickstarted half a decade ago and the efficacy of hip-hop in Nigeria as a whole?
Do you believe in God?
I do, yea, I’m spiritual but it’s not overwhelming to where people like pick up on it. I don’t impose it on anyone.
Spiritual, like are you a Christian or Muslim?
Yea I’m a Christian.
I ask because of this line: “Pops told me to pray more, but I never did. Couldn’t see them prayers really working, wanted better shit.”
Oh, yea. It’s funny, that stems from like my dad [being] extremely religious; he prays like all night every night. And he tells me every day, like ‘have you guys prayed?’ And he gives me prayer points but like growing up I used to see it as what is prayer doing versus money? Like I just wanted better shit, literally.
Yea, I get that. My mom is hella religious too, but she just does her own thing.
Yea, like he can’t drag me to church, but he’ll tell me ‘pray every day.’
Do you think there’s such a thing as purpose in life?
Purpose? Yea, I do and I think finding your purpose is the best thing that can happen for you. I think finding your purpose isn’t easy but when you do, you just feel so guided and at peace. It’s like waking up knowing the steps you need to take to get closer to this particular place or goal; it’s driving, like it keeps you going. A lot of people are stuck in a cycle or simulation of oh your parents said ‘do this and do that,’ and you genuinely think you have to do this or do that. Especially being Nigerian, it’s a whole different background and culture that goes into it. But purpose is definitely important to try and find at least. ‘Cos I feel like, not from a spiritual place, but like everyone doesn’t necessarily have one purpose in life, genuinely. You could do whatever you want, you know?
Would you say music is your purpose?
I don’t think so at all. I actually don’t think so.
Why?
I think music is part of it, it’s like a checkpoint I have to go through for sure but I don’t think I was – I never saw myself as that ‘Drake’, like a generational artist. I knew my niche, like I knew what my fanbase could be or what it would grow to be, but I never wanted to be rapping at 30 or like doing this forever. It’s just an avenue to like make life easier, for now, I’ll say, but it’s definitely not my purpose. I’m still finding that even; I have other dreams and things I wanna do but I can’t say I have my purpose locked in.
What’s your earliest memory of music?
Growing up, I moved to Nigeria [in] seventh grade — I was like 11 or 12 — from London, like I had an English background initially. And it was just like maybe when I was eight, my cousin had played Micheal Jackson. I don’t remember what song it was but that was music to me, like that was so fire. Just his voice, like the talent. It was even like Jackson 5 days. It wasn’t “Smooth Criminal”, it was one of those songs that just hit; it was dynamic. It made me like music, ‘cos I’d never go out searching for music on my own, I had a low interest [towards] music.
So how did you fall in love with hip hop? How did you know hip hop was what you were going to do?
It’s funny, I won’t say I knew, but I definitely have to credit the niggas around me. I always just wrote bars, not even raps, literally just punchlines, just bars in my phone. I’d hear a crazy freestyle and I’d just think like, ‘I know I have some better bars than what I just heard.’ And then I’d just be writing them on my phone and then, I think it was KA$H, he was locked in the studio that entire summer – probably like 2015/2016 summer. And then I just went a couple [of] times and I don’t know it’s the atmosphere, like ambiance, in the studio – if you’re bored you’d be motivated [when you’re] leaving. I must’ve shown them one of my pages of bars and everyone was in shock like, ‘I didn’t know you could do this,’ typa thing. And then he just gassed me into hopping on a song. And even then like, yeah I did the song, but I wasn’t into it per se until I’d seen what it meant to other people. Other people telling me like ‘Oh, that was you? Ah, that’s so fire,’ that impact was meaningful, for me at least.
Would you call yourself a shy person?
Hmm, I’d say bashful, but like I guess so. I’m not introverted, but in all honesty, I don’t care to speak if it’s not gonna be heard or received. I’m not the person that’s just telling you my opinion that you didn’t ask for, you know what I mean? I think a lotta people just like to hear themselves talk or say things you already know, but I’ll never do that.
I ask because out of everyone in Traplanta, you’re the least physically visible – you shy away from the limelight.
Rightttt. Honestly, I never wanted [the limelight]. I’d say I came up on fashion in LA. Like the years I spent in LA, I just wanted to go out like Hedi Slimane – I wanted to be a huge designer but not necessarily the center of attention. I’d rather be at a fashion show in the back like booling, just admiring designers or whatever. And that mindset kind of fucked me up when people would pull up on me and ask me questions about music and shit. Just cos I wasn’t ready to speak about it, it was hard for me I’d say but I feel like I had to grow into it though. ‘Cos I can’t go where I’m going, being laid-back or very shy.
Let’s revisit your childhood. What was growing up like for you? What kind of environment did you grow up in?
I have two brothers so we were always close, but I mean we moved around a lot: from London to Nigeria, and then from Nigeria – I didn’t even get to finish [school] here – I went to LA. And those two years in LA I’d say are what made me the person I am today because it was my most formative years that I spent there. And then moving to Atlanta it was slightly less of a culture shock, but then it did play a part in [defining] how I am and my mindset. I don’t know, growing up, it wasn’t tough but it was tough. Just ‘cos I didn’t always live with my dad – he lived in Nigeria the whole time. I was in London, I’d see him a few times a year, but still. I feel like it was a regular childhood but there was nothing I didn’t have, if that makes sense. It was complete but I can’t even say it was complete ‘cos I can’t compare it to nothing.
So how did you meet the other members of Traplanta?
You know it’s so funny, I had met KA$H in Nigeria like maybe when I was 13 at his house for a Christmas party or something.
What high school did you go to in Nigeria?
Greensprings.
Did you meet him there as well?
Not even. I might have met him casually while I attended Greensprings, but it was never no time while we were in the same school, or like we would see each other, if that makes sense. It was just like I know of this person whose dad is friends with my dad. And then, maybe fast forward like five years when I moved to Atlanta, my dad just says, “I’m taking you to my friend’s house,” and I didn’t think much of it ‘cos it was my first time in Atlanta so I was like okay. And then it was Section’s house that we went to and his dad is telling me he’s known my dad since he was 16, and they met KA$H’s dad when they were like 14. When we heard that I guess it just registered to us as a next-generation type thing.
Do you think that was fate?
It’s weird, like it had to be, but it’s so weird thinking back. They all went to the same school when they were 14 and they were really good friends, and it just happens that we’re all close [enough] in age to where we can have that same relationship as like friends that grow together. So, it was very organic in that sense, like family-based. And OBA was our friend – OBA was like KA$H’s “secret weapon” as far as just the talent that was sitting [in him] just by himself in Houston.
How long have you lived in Atlanta?
I’m on year five, I’ll say.
Would you say living there has had any effect on your music?
Oh definitely. ‘Cos when I moved to Atlanta, my mindset was like “I’m from LA.” But like, West Coast music is so different. But the funny thing is, what I hear in my head – it’s almost like the pocket I hear is where I’m supposed to be, but that’s cos all I used to listen to in LA was YG and Nipsey [Hussle] and [other] LA artists like Schoolboy Q. And the way they rap is so dynamic that when I’m put on an Atlanta beat, I’m still tryna do that, so it almost hits offbeat, but it’s onbeat in my head cos like this is the pocket I hear. So like the people that read it as both, it’s like crazy. Does that make sense?
That makes PERFECT sense. I actually always thought maybe you did that shit on purpose.
You know it’s funny, people ask me that but I don’t know. I promise you, I’m hearing every pocket I’m in and I think it’s on beat – it’s just not the conventional cadence. I just can’t hear a regular cadence, I guess. ‘Cos it’s always so refreshing when we’re in the studio as a group and then I just hear someone vibing and they catch that hook or whatever. I laugh ‘cos that was not what I heard at all, so it’s almost like my wiring is different, as far as the beat selection and how the beats hit. That’s why everyone says I’m offbeat.
You’re offbeat in a way that works.
To me, the loop I’m going for is just slightly longer than it should be so I know I’m gonna catch myself back, but like I have too much to say. I know when to punch but until then I have to say this stuff.
Do you think your music would sound different if you’d always lived in Lagos?
If I never lived in LA or ATL, I wouldn’t be making music, in all honesty. Just because I feel like the influence your environment has on you is almost understated. Like I could be in Lagos for a month and I’m in trad every day and just having a good time ‘cos that’s the energy I feel around me versus in Atlanta like the gutter – the underground scene. I could be in a club listening to LUCKI and that type of music, if you hear it on loop, it’ll inspire you. Before I came to Lagos, I had finished my album, but I said I’m not dropping this until after this trip because I know I’m gonna make another one off this Lagos trip [based on] the energy and the inspiration.
Working with Traplanta, would you say your synergy is based on friendship? Or you all just flow naturally as artists?
It has to be both because our friendship was very organic – we all grew to love each other before that. Making music was very hard for me because I feel like they pushed me to the artist I am [today]. Someone like Section in the studio? Man. If you know ‘Shooter’– one of our first joint songs – I must’ve done that verse like seven times, just ‘cos he’ll be like ‘No, you gotta do that shit again.’ That energy, having people tell me straight up ‘oh no, you can’t do that,’ cos my problem was always delivery. Like it’s nothing to write a crazy-ass verse, but like people have to believe you.
That was your problem?
Delivery? Yeah.
That’s crazy because I’d say that’s your selling point right now.
Yeah, it took a long time for me to even believe myself – just to get comfortable hearing my voice or to believe people love listening to my voice. So when I reached there, it was like okay now I know what I’m doing but to get there I had to go through so many retakes. The reason it came out how it did is because they would never let me go out bad, like KA$H and Section. There was no time that I didn’t have to do it over so it was crisp. So I felt like I was playing catch-up ‘cos it was niggas around me who grew up and their whole dream was to be a rapper. Having that energy, I just kinda felt it so it was like ‘oh homies rap so why shouldn’t I?’ type of thing. But having that, when you know the standard and you’re playing catch up, in your mind you’re just gonna go way harder every time. So it’s like I’m aiming to kill these guys when we write verses together – because I have to. To me, they didn’t really have as much to prove as I did, so it was a chip on my shoulder that worked out.
Do you freestyle more than you write, or it’s the other way around?
I do [freestyle], but that’s in my comfort [zone]. I have to like that beat so much to start freestyling because it’s almost like I have so much love for my pen, I don’t even believe I should just freestyle when I know I could write something better.
Have you ever put out any verse that was a freestyle?
I did, on KAMO’s joint, ‘2017 Cypher’. It was just some shit he had dropped on SoundCloud, it was me, him, KA$H & Ray.
There’s one song that he did. What’s it called? Ray was on it too. It’s like a boom-bap type beat.
I know what song you’re talking about too, it was like [one of] his first joints – “Barz”.
Barzzz!
Yeah, “Barz” is hard. KAMO is very laid-back but he’s a beast. He can do that shit like whenever.
So when you guys were making La Vie, what mental space would you say you were in as a group in general?
It’s funny, La Vie to me was fire for what it was ‘cos it could’ve been way better. We made it in two days or like three days max, but then we were all so comfortable around each other that we knew the vibes in the studio – it’s nothing for us to make ten songs in that setting, in like, a day or two – but it was the pressure of we were all about to go home to Lagos [and] we hadn’t really given streets music like that because we’d been in our own worlds. But then there was an overwhelming feeling of like ‘yeah we have to do something for Naij,’ and that’s why we just called it La Vie cos like yeah it’s a piece of us but it happened so fast so like that’s how life is anyway. Mentally, I’ll say everyone was charged up but like we were kinda under pressure too – we were under like an invisible clock and that shit will get to you.
What’s your favourite song from La Vie?
“Gorillas”.
Really?
Yeah.
I don’t really remember how that one sounds…
“Gorillas” was my shit.
Fairs. For me, it’s “Garments” and “Fool’s Gold”. That was the last track on the tape, right?
Yeah. “Fool’s Gold” had to be at the end because if we dropped that tape in November, we made “Fool’s Gold” in March, so we were planning how we’re gonna get this song out. Everyone who was in that room when we made it already knew what it was, but we were so laid-back – I’ll say we got way ahead of ourselves as far as like packaging, we didn’t think much of it.
Yeah, you guys didn’t really promote it, it’s just your fans that kept track of your releases and found the tape.
That’s what I’m saying. We didn’t take music as seriously as we could have. And yeah it showed, but then a song like “Fool’s Gold” was so organic. Do you know Master Don? He’s like Section’s producer and engineer. I know he’s Maison’s engineer too. But like yeah, we all literally met that night and then we just spent like an hour in his dorm and he made the beat in front of us and we just started recording.
I like the intro on that song, it’s really cool. I think that’s one of my favourite verses from OBA before “Goin2”.
Yeah, OBA has some shit in the vault.
I was gonna ask you about your rap style but you already explained it earlier.
My influence is like [crazy]. My favourite rapper to me – it’s hard to do a top 3 but my favourite rapper is 50 Cent. 50 in ‘05? No one was as good as him. Like 2000 to ‘05 50 Cent? Killing it. And then like Dipset, stuff like that. I always saw myself as a rapper’s rapper. Like I really wanted to rap versus maybe nowadays when I’m tryna make some catchy shit. Like I’m tryna make anthems now. That’s what I did with “Xans + Molly”, I wanted my own anthem that people would just know forever type of thing. But like before that, I just liked to go crazy on verses literally.
What’s your favourite verse you’ve ever done?
The song is called “Prophecy” but it never dropped. It’s unreleased; me, Section and KA$H. It’s like a cult classic if you know it. Everyone who knows that song is always gonna be like ‘yeah, Xan killed that shit.’
Why didn’t you drop it?
It was honestly too much underlying shit. Like niggas had life problems that we let become bigger than it should have [been]. So it was a lotta bullshit that got in the way of our music for sure. Like looking back, it’s unfortunate, but I mean, Imma just put that shit on my tape as some bonus track or something. It’s from 2017 – I was like 18 – but it’s still my favourite verse just ‘cos of what it was.
So what’s your favourite song you’ve ever done?
I can’t lie, the last one I just dropped – “Xans + Molly” – that’s definitely my favourite. It has some competition but all my best music is unreleased. I just can’t see myself dropping it unless all the stars are lined up perfectly. That’s just how I am.
Yeah, I’m of the school of thought that you don’t have to rush. Especially to drop a tape. People think dropping a tape is just getting a bunch of songs and putting it together.
The impact just has to be there for me, ‘cos I could always pick 10 songs that are unreleased and make a tape out of it but it wouldn’t even be cohesive ‘cause I’ve grown between all those songs.
What type of songs can I find on your playlist?
These days it's mostly just gutter Atlanta stuff that puts me in that mood, like it gets you jumping. I have so many playlists but I still have that classic playlist with all that 50 Cent, Dipset, Juelz, people like Jada(kiss), that type of music. When I’m in the mood to rap, that’s what pushes my pen. But if I’m just catching a vibe, I listen to all types of music like Baby Keem. Like [what] I think is unique [and] what I enjoy is if I feel like you have your own style, that’s always good to listen to because I genuinely don’t listen to music that often that often – I’m not a music person. There are people I know that wake up, turn on the speakers and [listen] to music and start their day.
Like me.
Yeah, I could never do that. I was always into movies and film-making. I even think it was that time in LA I spent; so you’re right next to Hollywood but at the same time I’m taking film classes and getting cultured on movies and how it's made and stuff. I would always rather give two hours to a great movie than a great album, if that makes sense. And also ‘cos I never really listened to music – my music was never influenced by anybody. It was always the way I was wired; it was how I heard that pocket [that] I’d rap verses.
I think Carti said something like that in an interview about when he was making Whole Lotta Red, he wasn’t listening to anyone because he didn’t want to get influenced.
Yeah, I find when I listen to music, I always wanna make music like that. I remember Section told me like maybe a couple [of] years ago, ‘Yo, don’t ever make shit for other people. Just make the music you want to hear, and that’s what you drop.’ Ever since he said that, I just kinda did. Like I made “Majiin Buu” ‘cos I watch anime more than anyone, like my anime list is ridiculous.
Are you serious? I would’ve never actually guessed.
I mean, yeah, I could drop an anime album today – that’s why I made “One Piece”. One Piece is my favourite anime of all time. I always throw in some subtle anime references, just [to] see who’s gonna pick it up.
Whoa. I didn’t even correlate it to the anime. I just thought you were talking about some rapper shit.
(Laughs) That’s so funny, ‘cause the “One Piece” for me was like oh I just copped this jacket like it was my favourite jacket. That’s my favourite piece to have, like pieces of clothes – garments that no one has. So I was like okay, it could be a double entendre but like the Pirate King in One Piece is Roger. So I don’t even remember what I said but it was like some shit about the same shit Roger has. But that’s the idea I had when I made “One Piece”.
Give me your top three rappers, currently.
You know it’s funny, I genuinely would say Maison[2500], Sid [Shyne] and $oda[man] tied for second. Those are who I listen to the most. But yea, that third, it’s too hard [because] I genuinely don’t listen to music anymore to even say a rapper is my favourite. I could give it to LUCKI but I don’t know, it’s hard.
What song would you play if you wanted me to fall in love with Maison’s music? Just one.
For me, it was “Important”. That’s when I was like ‘Oh Mase, stop, man. You’re doing too much, bro. You’re fucking these kids up.’ That was the song for me, but then even I’d say “Booksmart” was when he started looking at it like ‘Oh I’m doing some crazy shit,’ like if you know that song. But yeah, “Important” is that song that’d make you believe in him.
How about Sid?
Sid has a crazy crazy-ass catalogue to me but I’d say “360 Deal”.
And $oda?
CNN.
OMG, that was my answer!
Yea, the day he played me that shit I started looking at him different[ly], to be honest. His production is up, that’s why I always respect him. He never took no shortcuts, like he worked. Like I saw him in the studio every day for a long time. It translates, when you’re focused it translates – it always does. It was the same thing with Maison; it’s all about consistency.
So your solo work, well not just you, everyone in Traplanta is doing their own thing currently. Was that always the plan: to go solo at some point? Or it was just something that happened on the way?
I’ll be lying if I said it was meant to happen when it did, but yeah. We were never Migos, we were always meant to be TDE: a whole bunch of talented guys in the same camp. It just happened that our [target audience’s] favourite songs weren't a solo Section song or a solo KA$H song. What they liked the most was when we’re all together, so we just kept doing that. What we saw from “Kiss+Tell” was that this formula could be magic: KA$H could take the first verse, Section has the hook and I’d do the second. It looked like it would never not work but then I just feel like there’s a level of – I don’t wanna call it egos but maybe pride, where it’s like when you know what you have to offer, you could just do it yourself, and I think that's what it was.
I think for me it’s just like I could be out – or KA$H is out ‘cos I’m not always in Lagos as often as other people. And then guys are asking KA$H everyday ‘where’s Xan?’ and shit but like, you’re talking to KA$H right now, you know, talk to KA$H. Even [on] this trip, I must’ve answered so many questions about Section and it’s like ‘Uh, I’m here now,” versus who isn’t, you know what I mean? When you feel like you’ve done work and then someone’s asking you a question like that it’ll make you not wanna do that work anymore, you know what I mean? You’re gonna wanna go solo [and] showcase your solo effort, stuff like that. But it was always meant to be individuals in a collective versus a group.
What do you think about the growing hip-hop scene in Lagos? In the past few years the alté scene has been blowing up, but apart from that, there’s a different scene – I like to call it alternative hip hop.
I love that scene, ‘cos I feel like we made it. It wasn’t no genre for what we were doing per se so even the alté guys had to fuck with us, if that makes sense. The impact we had is crazy to me. But like if it’s never spoken of, I won’t lose sleep. This type of thing, it’s just crazy looking back like three years ago, we didn’t realise how much kids were affected by what we were doing, versus now [that] everyone wants to rap. Even the kids in my dms sending me music, the inspiration is crazy, it just pushes us more. I was talking to Section about this yesterday like all the shit we did, it’s so that kids can feel free to do it so they don’t have to be embarrassed about wanting to have this dream at this age.
One thing I’ve noticed is with that particular scene, it’s either people don’t talk about it or they classify it under alté and it’s not the same.
It’s so far from it. Like I love Santi and all, he’s one of the realest people I’ve met on some industry shit, honestly. But then to say we’re under the same genre would be maddening cos it’s like so left-wing. That’s like saying Cardi makes country music – doesn’t sound right at all. Yes, the [alté] tag is almost like a stain that’s been put on me that I find hard to shake off but I don’t let that affect me. In all honesty, I never used to look at Naij, ‘cause I go home like three times a decade and when other guys go home and come back rejuvenated and they’re telling me that ‘Oh yeah, the kids were asking about Xan.’ But if I’m not there feeling it straight up, it’s like I don’t even think of Nigeria. I’m looking at my direct surroundings, like Atlanta. Even when I check my streams, my number one streaming nation is America. Being here [in Lagos] is different though. Even when I go out, like just being out of my house, at least one person will recognise me and say they love my music – that energy is why I [still] make music today.
The kids are really tapped into your shit though…
Absolutely. It’s funny cos I always got love from like old heads every time I was in Naij in person. It was old heads that would pull up and show love ‘cos they knew it was nothing to be scared of, I guess because they’re old already so I’m not gonna be on some weird shit. But it was later on kids would start feeling comfortable saying hi. But I get that though, like I always knew it was kids who were going crazy. I think it was when I did NATIVE – I think it was “Diamonds” or ‘Kiss + Tell”, one of those songs – I was doing my verse and I looked in the crowd and there was this kid going word for word with me. I look in the crowd and I’m like ‘Yo, you’re crazy!’ Just some kid, he was going word for word, and I was so happy just seeing that. Just ‘cos of the disconnect for me because of how far away I am.
Where do you see hip hop going in Nigeria, especially this scene? Do you ever think people are going to want to move back here and actually try and grow the scene from here, like PsychoYP? Or they would want to stay there?
You know, I don’t think an artist who sounds like me can afford to live here full-time and make music like I do because all my music is from experiences in America, so it’s like it’s so intertwined. Yea, I can come here, Naij to me is like a tropical location in all honesty. It feels like going to Barbados or some shit, it’s very tropical. And it starts to feel foreign but it just happens I know everyone in the city because I grew up here. So it’s hard to say where the scene would go, but Nigeria is becoming more Westernised by the day. I feel like Naij is tryna eat up American culture as much as it can.
So you spoke about fashion. I know you’re kinda fashion-inclined..
Ha.
Is that underestimating it?
Slightly, but like that’s what I put out so it’s not necessarily underestimating it. Initially, with Traplanta, the reason I was around them so much is ‘cause I was like their unofficial stylist. You know, I’m getting guys ready to perform for shows but I’m not performing. Like I said I like to be in the background, so I don’t mind having everyone [looking] fly and we all go where we’re going. So it was always like that.
Do you ever think you’re gonna pursue something more fashion-related?
Definitely. I’m just not in a rush to do that because music is a slow grind but fashion is an old-school slow grind. It’s no overnight shit in fashion. I could win best dressed in high school but that doesn’t mean if I make these designs they’re all gonna sell. It’s a [more] stagnant world than music. Like in fashion, I’d see a kid wearing a hoodie I designed and it’s cool – it’d put a smile on my face – but when I start making music, kids come up to me to tell me they love my music, which is more of a better feeling, I’ll say.
You already said that you’re working on new music. Do you have any idea what it’s gonna be called?
The first tape is called LAXan, just because that’s where I found myself. Like I found who I was – became self-aware. And then the album is called Pop More Than Pills because I always play with the xan shit but I genuinely want kids to not be on pills. I do more than that so yeah, that’d be the actual album.
So in the end, how does this all make sense for you? When do you feel you'd be satisfied?
I don’t necessarily want to be like Drake, like a generational talent or the biggest rapper in the world, but I need it to be where it’s at the point that my impact is understood [as opposed to] you just liking one song. I feel like that’s why I never dropped the album: my mindset was always long-term. I don’t think of things when I’m doing it, I think of how it’d be seen in like 10 years. Like what do I want my legacy to be? So when I want to drop music it’s like ‘I can’t drop this song, I need it to be this one because in 10 years I want them to be like he said that 10 years ago.’ There’s a lot of stuff I didn’t do because I needed it to be done then. Like the “Prophecy” song I said? The reason it was my favourite verse is ‘cause the chip on my shoulder was like ‘Yea Nas made that shit when he was 18, but like so did I,’ but I didn’t drop it when I was 18, so in my mind, it’s done, I can’t drop it now – I’m older now. It’s not the same as hearing an 18-year old say this versus a 21-year old. So it’s always about legacy for me, I want it to be a crazy look-back. I wanted everything to be historic and I still do. I’m not content until I can look left and right and the people with me are the people who were with me back then when we started.