KJ SPIO INTERVIEW: A true tastemaker within British music, KJ Spio is one of the few names seamlessly integrating two cultures and worlds together. Housing a boast-worthy discography with features from Gyakie, Konshens, Sarkodie, Ambré, Harmonize and Libianca. Get familiar…
You’ve been on a roll with a string of incredible singles like ‘Heat’, ‘Emiko’, and ‘Messi’. Can you talk about the creative energy behind this series of releases and what connects them?
It’s been a process of me expressing my various mood through these records, Emiko was recorded in Lagos with Oxlade and Blaise after a studio session after we’ve been discuss everything from religion to music. Heat came from a series of records I made with KiDi.
You’ve been described as the “DJ Khaled of Afrobeats.” What does that title mean to you, and how do you approach your role as a producer and creative director who brings together different artists?
The name comes from my passion and how involved I am with the whole creative process. As a producer and writer my goal is to tell stories thru my releases and music videos
Your collaborations are a huge part of your brand. How do you go about selecting the artists you want to work with, and what’s your process for bringing them into your creative vision?
I am heavy on energy and the collaborations have to be organic, most of the artists I connect with, I’m a fan of first, then I find the perfect story for us to tell with the music.
Your recent single ‘Heat’ features KiDi and Stalk Ashley. What was the inspiration behind that track, and what was it like working with those two artists to create this sultry summer anthem?
Both Kid and Stalk are stars, such an amazing process working with them both. They both work very fast and get it. ‘Heat’ is actually one of my favourite records. Working with both Kid and Stalk on this project was an absolutely amazing process. They are true stars, demonstrating remarkable efficiency and a keen understanding of the creative vision. Their ability to work incredibly fast while still perfectly grasping the nuances of the record made the collaboration exceptionally smooth. In fact, this is undoubtedly one of my favourite records to date, largely due to their brilliant contributions and the seamless synergy we achieved.
‘Emiko’ with Oxlade is a powerful track with a deep message. Can you elaborate on the story behind the song and its focus on faith and resilience?
The creation of this particular song was quite serendipitous. We had just wrapped up the recording session that was originally scheduled, but instead of packing up, a natural and organic conversation began among us. As we spoke, a profound realisation dawned on everyone present: despite our individual paths, our experiences, struggles, and aspirations shared remarkable similarities. It was a moment of deep connection and understanding, as if our personal narratives were intricately woven from the same fabric. This shared recognition of common ground, of parallel journeys and echoed sentiments, became the undeniable catalyst for the music that followed. The song truly came to life from the raw, authentic emotions and shared histories uncovered in that candid conversation, transforming our collective experiences into a harmonious and resonant artistic expression.
Your music effortlessly fuses different genres like Afrobeats, Dancehall and Amapiano. How do you achieve this fusion while maintaining a cohesive sound?
Thanks, I usually start with the melodies and everything else come together beautifully.
You have a project titled ‘KJSPIO ‘BIG COACH’ PRESENTS: EAST MEETS WEST AFRICA’. What was the concept behind this EP, and how did you go about bridging those two regions musically?
I was in Tanzania shooting a virtual concert and I got introduced to the Bongo flavour and from working with all the amazing artists from East Africa, we made a beautiful EP.
Beyond your music, you’re also a creative director and A&R. How do these different roles influence your artistry and your approach to the music industry?
I’m heavily influenced by how the visuals would look when making my singles. I see the visual elements as part of the process, I usually have an idea of how the visuals would look like soon as the song is done.
Your work with both established acts like Sarkodie and emerging talents shows a keen eye for the future of the music scene. What are some of the trends you’re seeing in global music that excite you the most?
I feel like globally, audiences care a lot more about quality music and hence the focus on music with substance. Music in general is in a great place, especially African music and the sound is heading toward more melodic story telling.
You’ve been involved in the music industry for a number of years, from tour management to production. How has your journey shaped you as an artist, and what are the biggest lessons you’ve learned along the way?
Tour managing has been the most beneficial, it is how I developed a great ear for sounds. Being on the road seeing what records worked had helped me a great deal when it came to me making records for myself and others.
Your music videos are always visually stunning. How important is the visual aspect of your music, and what is your process for creating the concepts for your videos?
Thanks, visuals are very important to completing songs and giving fans a great experience. I believe a great video will have the viewer full understanding of the song.
What’s next for you? Can fans expect a full-length album in the near future, or will you continue to focus on releasing singles and collaborative projects?
I have two more single to drop, follow by a five piece EP which am planning along with a five city tour in December.
