FirstKlaz Lets the Work Speak as He Puts Arewa Sound on the Map

Sometime between 2013 and 2014, in a boarding school in Abuja, a teenage student climbed atop a speaker during a social night, began to rap, and got a standing ovation from the students in attendance. That teenager was FirstKlaz, born Joseph Justice Elsa, and that moment planted the seed for a career that has since made him one of the most compelling voices to emerge from Northern Nigeria.

Raised in Abuja and born in Nasarawa State, FirstKlaz has built his name on a genre-fluid style he calls kalangu sound, weaving Hausa melodies and traditional Northern rhythms into Afrobeats and contemporary pop production. His breakthrough came with the Gen-Z series, beginning with Gen-Z Fuji in 2024 and continuing through Gen-Z Fuji II with Terry Apala, Gen-Z Faaji with Joeboy, and Gen-Z Arewa, a landmark collaboration with the veteran Northern band ‘Iliya Entertainment’ that drew a public co-sign from Olamide. He has since kept that momentum going with his latest single, Tsammani, which draws on the choral traditions of the Zumunta Mata, and a feature on the remix of Falz and Oiza X Meyi’s viral song  Na Je.

FirstKlaz emphasises letting his work speak for itself. The Culture Custodian caught up with him for a conversation about his journey so far, the meaning behind Arewa sound, and his vision for Northern Nigerian musicians on the global stage.

How has your music career been going since you started pursuing it seriously?

I started making music because it was the best way I knew how to express myself. At first, it was just passion, recording songs, learning the craft, and trying to find my own voice. Over the years, I have evolved from simply making songs to building a sound and a world around my music. Every stage of the journey has taught me something, from performing in small spaces to reaching bigger audiences. Today, I’m more focused than ever on creating music that represents where I’m from while connecting with people everywhere.

What do you call your sound, and how would you describe it?

I call it the kalangu sound. It is still Afro-fusion, but it’s not just a genre, it’s an identity. It’s a fusion of Northern Nigerian culture, Hausa melodies, traditional rhythms, Afrobeats, modern production, and global influences. I want someone in Kano, Lagos, London, or New York to hear it and feel something, even if they don’t understand every word. It’s authentic, emotional, energetic, and rooted in culture while still sounding global.

Music isn’t always seen as a viable or encouraged path in the North. Did you face pushback, and how did you push through?

Definitely. Like many young people from the North, there were questions about whether music was a “real” career. Some people worried about stability, while others simply did not understand the vision. But I believe that every generation has people who challenge what’s possible. Instead of arguing, I let my work speak.

How much of your drive to elevate Arewa Sound comes from representation versus proving doubters wrong?

Representation comes first. Of course, proving doubters wrong feels good, but that’s temporary. My bigger mission is to make sure Northern artistes never feel like they have to hide where they are from to succeed. I want young creatives from the North to see that our language, culture, and stories are valuable enough to stand on the global stage.

Beyond instruments like the Kalangu or Goje, what do you think a Northern Nigerian identity actually sounds like?

For me, Northern identity isn’t just about instruments. It’s in the storytelling, the emotion, the melodies, the language, and the values we carry. It sounds like resilience, hospitality, faith, hope, celebration, and community. That’s what I try to communicate in every record. Even when the production is modern, I want people to feel the soul of the North.

Is there a risk of the sound being misunderstood as it travels globally? How do you guard against that?

There’s always that risk, but I think authenticity protects the music. I don’t make the culture smaller just to make it easier for people to understand. Instead, I invite people into it. We have seen audiences embrace Afrobeats, Amapiano, Latin music, and K-pop without fully understanding the language. People connect with honesty. If the music is genuine, they will become curious about the culture behind it.

How was your time working with Iliya Entertainment?

Working with Iliya Entertainment has helped me grow as an artist. It has allowed me to think bigger, not just about making music, but about building a brand, creating stronger visuals, and reaching wider audiences. Like every partnership, there are lessons, challenges, and victories, but overall it has pushed me to become more intentional about my career and the legacy I want to build.

What has been the most discouraging moment in this journey so far?

One of the hardest parts has been dealing with uncertainty. As an artist, and even after gaining recognition, there are moments when things don’t move as quickly as you hope. Songs you believe in don’t always get immediate results, and there are setbacks behind the scenes that people never see. But I have learned that consistency matters more than any single moment. Every setback has made me more patient and more determined.

You’re very much into colours, creative direction, and fashion. What inspires all of that?

Music is only one part of storytelling. Fashion, colours, visuals, and creative direction help complete the experience. I’m inspired by Northern culture, architecture, traditional fabrics, vintage aesthetics, and contemporary fashion from around the world. I want people to recognise my work before they even hear the music. Every visual should feel intentional and reflect the world I’m creating.

If Arewa Sound achieves the global resonance you’re chasing, what does that actually look like for the next generation of Northern artistes?

Success won’t just mean that one artist becomes famous. It means the world starts looking to Northern Nigeria as a source of great music and creativity. It means more investment, better studios, stronger management, international collaborations, festivals, and real career opportunities for young artists.