Award-winning Afrobeats singer, songwriter and producer turned worldwide sensation, KiDi, consistently pumps excitement into the genre. Hailing from Accra, Ghana, where his culturally rich upbringing and natural love for music moulded the musician’s extraordinary sound.

With chart-topping hits such as ‘Touch It’ and ‘Say Cheese’, KiDi continuously holds down the fort, transmitting Highlife frequencies to the corners of the world. He effortlessly fills the shoes of legends who preceded him. Capturing hearts all over the globe with profound, sweet melodies, the musician’s chorus forms bonding moments over riveting lyrics and dynamic beats. 

Breaking onto the scene with his adored 2017 single ‘Odo’ featured on his debut album, he’s since followed up with an even stronger sophomore album. KiDi hasn’t taken his foot off of the pedal, having collaborated with artists such as Davido, Mayorkun and Kwabena Kwabena, the artist makes it clear that his mission is to share and celebrate the essence of the Gold Coast which he executes flawlessly and consistently.

VIPER linked with the global star to talk about the creative process behind his collaboration with Black Sherif and KiDi’s evolution of sound…

How did KiDi come about?

Where do I start? This is a hard one. But essentially, I’ve always loved music and have enjoyed it from a young age. I don’t come from an artistic family so I’ve always been the weird kid. In high school, I was in a boy band where we would perform to people and I used to write the hooks. I also used to record covers of other people’s songs. 

At every stage of my life, I have needed to find a way to connect to music. 

I met Richie Mensah whilst at university who is now the CEO of Lynx Entertainment, my label. I recorded a John Legend cover which landed on his desk and later performed for him, which he enjoyed.  My stage name at the time was Eduardo, inspired by the telenovelas my family used to watch while I was growing up. All the romantic guys in those shows had Spanish names so my friends gave me the name Eduardo. Richie said I needed to change my name so I decided on KiDi which means rhythm in Ghana and Hausa.  

You’ve mentioned in past interviews that your sound blends Afrobeats, Highlife, and R&B. How do you feel your sound has evolved from your first album, ‘Sugar’, to your more recent releases?

There’s growth in the overall production of my sound, first of all. When I started, I produced most of my work myself. Songs such as Odo and Say You Love Me were created by myself and at the time, I was a new artist. Now, I’m at the stage where I have learnt so much and trust engineers and sound producers to create a sound according to the vision. KiDi as a whole has improved because growth is what we live for. 

So, I’m obsessed with Lomo Lomo featuring Black Sherif. Can you walk me through the creative process? 

Shout out to my brother, Black Sherif, who featured in the song. Shout out to the producers and the writers, Kojo Blak, Ugly & Tough. It took a village to bring this song to life. Myself and Black Sherif had been meaning to get into the studio and work together for a year but it just never happened because of our conflicting schedules. However, I sent him a demo of what I had already done and he loved it. He was adamant about being on the song so when we all touched base in Ghana, we found a pocket of free time to lock in. That’s how we birthed this beautiful record.

What elements of your style do you see yourself experimenting with next?

During the early stage of my career, I recorded a lot of Highlife songs and my biggest songs have been Afrobeat, Reggae and Dancehall-ish. However, I feel like I haven’t properly explored the Highlife soundscape and that’s something I am trying to explore more. I want to give the Highlife sound another try, especially now that I have grown musically. I also would like to draw on R&B because it’s my first love. 

Afrobeats is gaining global attention, and you’re part of this wave. Do you feel any pressure to cater to international tastes? How do you strike a balance between catering to international tastes and staying true to your roots?

To be honest, it can be difficult. I won’t sugarcoat it because a few years ago, Afrobeats wasn’t cool so a lot of artists were making music for those who wanted to listen at the time, who were mainly African people. However, Afrobeats artists have been very fortunate to be able to now cater to a global audience. With growth, comes evolution and that involves adding and subtracting features of the sound that characterise it which is where the difficulty lies. These days, artists have to consider African people in Africa, the diaspora, and non-Africans to strike the right balance. The right balance is a sound that cuts across all races. We’re learning, growing and figuring out the balance so as not to lose ourselves whilst remaining in touch with our ever-growing audience. 

Having worked with artists such as Kwesi Arthur, Mayorkun, and Patoranking, how do you choose your collaborators?  What’s the most important thing you look for when teaming up with another artist? 

I like to work with artists on the same wavelength because music is vibration. I love all genres of music so I’m always listening to other musicians and paying attention to what they’re doing, absorbing and appreciating their art. So when I write a song, I study the song to decide which amazing artist can elevate the song further. I’ve been fortunate to collaborate with artists that complement my sound. 

Touch It became a massive hit worldwide. Did you anticipate that kind of success when you first recorded the track? 

The support Touch It received was beyond my wildest dreams. As musicians, it’s our duty to make great music and that’s what we do but I didn’t anticipate having a song that garners so much support. I’m grateful. The song itself has taken me to all corners of the world. There’s a remix with Tyga which has taken me to America and a remix with Tulsi Kamar, a great Indian superstar. I get tagged in videos from supporters in Jamaica, Belize, and Grenada and they’re playing my song on the radio, back to back. 

It fills me with joy. 

Love and heartbreak are recurring themes in your songs. Can you share how your personal experiences with love and relationships have shaped your songwriting? 

To be honest, there have been a lot of instances in my life where love and heartbreak have occurred. From junior high school to university, there have been love interests, unrequited love and heartbreak. We’ve all been through one or two of those, you know? I keep my experiences in the bank and when I go to the studio, I pull from the bank of my experiences. Sometimes, I relay experiences that aren’t mine but shared because I’m a great listener. I’m able to create great melodies from those stories. Nonetheless, some of the narratives in my songs are purely fiction.

What’s your favourite song of yours? 

That’s a hard question, asking me to choose between all my children. Currently, Lomo Lomo because it’s the new baby.

In one of your interviews, you talked about the importance of mental health for artists. How do you personally prioritise your mental well-being with such a busy schedule?

Every day we learn new ways to take care of ourselves. The ability to disconnect and take a moment to breathe is important. When I travel for shows, I always schedule an extra day to unwind and familiarise myself with my new environment because when I go back to Ghana, it’s right back to the grind. I love watching TV because I get to tune out the world and tune into myself, from the comfort of my bed.

You’re known for your stylish fashion sense. Do you see yourself venturing into the fashion world? How important is fashion to your identity as an artist? 

I don’t know what it would look like but I know it will be great. I love fashion, looking good and you know the saying: when you look good, you’ll feel good. When you feel good, it radiates into everything you do. I see myself in a space that combines music and fashion. Artists need to have a style. It’s not enough to just make music. You need to sell the music with the way you look, move and carry yourself. 

Can we expect any other hair colours this year? 

I’m going to remain blonde for a while. The women in my life have warned me. They don’t want to wake up one day and I have blue hair you know? 

Tell us about your musical influences. Who did you grow up listening to? 

My first introduction to music was through my father. He had a collection of CDs and cassettes which included Daddy Lumba and Ofori Amponsah to name a few. Their journeys and work ethic inspired me. At school, I picked up on the R&B Influence. I remember doing Sean Paul covers. In jam sessions, Sean Paul’s Temperature would come on and you’d have to grab a babe because it’s about to get hot! Sean Paul, Chris Brown, Usher and Beyonce were my biggest R&B influences. 

I learned to pick something small from everybody and add my seasoning to it.

Which streaming service do you prefer – Spotify or Apple Music? What’s the last song you listened to? 

When Ghana gained Spotify, I thought I’d try it and see what it’s about. But before that, I used Apple Music. I’ve always loved them. I’m a loyal person so I feel like I’m stuck between both of them. The last song I listened to is called Jireh by Maverick City Music.

As you continue to evolve, what kind of legacy do you hope to leave behind in the African and global music scenes?

I haven’t figured out what I want my legacy to be but I want it to be impactful, something my great-grandchildren will be proud of and will be written about for years to come. I know it’s going to be amazing.

Interview by Sharon O.