Tempoe is among the music producers shaping Nigeria’s music evolution today. Born Michael Alagwu, this award-winning producer is renowned for global hits like Ckay’s Love Nwantiti, Victony’s Soweto, and Omah Lay’s Soso, and is now stepping up as an executive producer with an expanding catalogue aimed at uplifting Nigerian music.
Whether it’s whistling through a Victony or Joeboy record or seaming through ambient piano, Calypso guitars, and bassy Afrobeats kicks on an Omah Lay track, Tempoe is among the music producers shaping Nigeria’s music evolution in recent times.
Born Michael Alagwu, the music executive and award-winning record producer is most renowned for his work on global hits like Ckay’s Love Nwantiti, Victony’s Soweto, Omah Lay’s Soso, Understand, Godly, and Joeboy’s Sip, Contour, Door, Better, raking in at least two billion plays Spotify plays on just these records. He’s also credited as an executive producer on Joeboy’s just-released Viva Lavida album, where he also wore his beat-making hat behind tracks like SMH, Innocent, Taxi Driver, and Abena.
Tempoe’s rise in the Nigerian music scene spun with his earlier Ckay productions — including 2016’s Container and Nkechi Turn Up — setting the stage before Ckay’s Love Nwantiti became a global hit in 2019, breaking glass ceilings for his craft. Across his soundscape, he maintains a melodic and improvisational production style, subtly fusing ambient melodies with complex compositions to evoke strong emotion.
Recognised for his progressive work by global bodies such as the BMI London Awards, The Recording Academy, and the African Musik Magazine Awards, Tempoe is set on uplifting the tempo of Nigerian music with his expansive catalogue. He sits down with Guardian Music to discuss his daring new sojourn as an executive producer, his creative influences and process, as well as his thoughts on the future of Afrobeats.
It’s not your first time working with Joeboy. What connected you both?
I can’t recall the exact year, but I think our first collaboration was on Door, around 2020 or 2021. That helps me place it — we officially met in 2020. We’d record in this small studio in Yaba, a little hideout where Joeboy would hang out with his crew. We connected through mutual friends. It wasn’t anything forced — I wasn’t chasing him down with beats. We just happened to be in the same space one day, and it felt like the right time to create. That night, we made three songs, including Oh. Months later, we made Door. Since then, we’ve been tight. We’re friends who just happen to make music together — it’s not a relationship solely anchored on music.
Give us insight into your creative process.
My creative process is very sporadic and spontaneous, which makes it tough to teach others. There’s no set way I work. Sometimes I start with lyrics, or the artist has lyrics, or I have a beat, or even half a song with melodies. Other times, we start from scratch. Often, artists come with raw ideas that aren’t fully developed, and I see myself as a finisher. I know how to take a small idea and turn it into something grand, something more than just a song. That’s a common theme with everyone I work with — there’s no one-size-fits-all approach.
As an executive producer, what’s your thinking process like?
Being an executive producer is very different from just producing a few songs on an album or making beats. It’s about shaping the entire sound of the project and creating an experience beyond what the artist would typically deliver. For example, with artists like Joeboy, Adekunle Gold, or Ruger, I look at where they are in their careers and what they need at that moment, considering how their fans see them.
I might tell an artist, “This song is great, but it’s not what you need right now. You’ve done something like this before.” They might love the track, but I’ll explain why it shouldn’t be part of the project. That decision-making process has nothing to do with making beats or being in the studio — it’s about understanding the artist as a brand, ensuring they’re in the right headspace, and aligning with the current industry climate. A good executive producer can elevate an artist to greater heights by seeing beyond their immediate perspective.
How does this new role make you feel?
It feels amazing because it allows me to fully realise my vision for a project. When I’m making a song, I’m already picturing the artwork or thinking about the next big thing — how can I break new ground? That’s not easy; it means not relying on old formulas. I focus on the smallest details, like how the mix should sound, things even the engineer might overlook.
Over time, I realised if I’m hearing things others don’t, it’s for a reason. It puts more responsibility on me — if I notice something that could improve a song and don’t fix it, it’ll bother me forever. Sometimes the artist might oppose my ideas, and I’ll explain my reasoning. About 50 to 60 percent of the time, they agree, and we go with my suggestion. Other times, they do what they want, which is fine — it’s not about my idea being the only one. It’s about presenting the best possible version of the record. It can get complicated when business people or labels get involved, with everyone wanting something different. Fans don’t see this, but there’s a whole story behind some of these records.
What do you think the next wave of Nigerian music should look like?
You can’t really dictate what people will like—it’s like politics; the power shifts every year. What drives change is who’s at the forefront, what’s being pushed, and what’s succeeding globally. For example, Tems is having immense global success with her style, which gives others confidence to make similar music or experiment in that space. That leads to crazy fusions and new combinations. Take Tems sampling a classic Sade Adu record — that inspires younger artists to revisit those vintage sounds. It sounds cool hearing those records in London or the US, especially with nominations and global recognition.
Artists like Burna Boy and Rema are also refining what Afrobeats and Nigerian music mean, and producers are using sounds in ways never done before. I pride myself on doing unique things, like the whistling in my work. When I did that, it wasn’t common, but now you hear it in other songs. It’s also about how you sample — whether it’s bold or experimental, like what I did at the end of Innocent, switching to a different record entirely. That might not play in clubs, but it expands the minds of producers and artists, showing there are no rules. You just have to be confident, even if people question you at first. It’s on all of us in this industry to push boundaries, so future generations have something fresh to sample.
Time for some rapid-fire questions. What’s your favourite music app?
Spotify.
What’s your favourite app to open in the morning?
Right now, the Weather app — because I’m in London.
Favourite thing to eat after recording music?
Fried plantain and eggs.
If you were to describe your life and art right now in one word, what would it be?
GOAT. Greatest of all time.
