Akuchi’s No Games advocates for persevering in spite of opposition. It is produced by Oladimeji Obiremi, who sets it to a somber Trap beat, one Akuchi matches with rap verses, his tone alternating between defiance and bluster.
Akuchi’s aesthetic rails against convention, with his American-style delivery, a counterintuitive choice at a time when both Nigerian artists and audiences have a bias for both local rhythms and lingo. But, as he told The Culture Custodian in an interview, Akuchi has every confidence in his choice, his certitude the result of a lifetime of being at odds with the crowd. In high school, in Ogun State, he was the lone student of Igbo extraction in his class. In London, where he attended university, he confronted the typical immigrant’s dilemma—how to thrive in a space where most people are different from you. As was the case in Akuchi’s former lives as both student and immigrant, so it is with his relationship with music.
How will Nigerians take to his unfamiliar offering? Akuchi thinks they’ll take it well, expressing faith in their open-mindedness, while casting himself as a kind of cross-cultural glue, as a link between African and Western sounds. “The truth is Nigerians appreciate good music,” Akuchi said. “It doesn’t have to be Nigerian-sounding. Right now, I feel like I’m acting as a bridge because I understand and do Afrobeats. At the same time, I’m good at Trap.” In this interview, Akuchi talks some more about his role as a cultural middleman, No Games, and his forthcoming project.
How did you get into music, and what inspired you to settle for Rap music?
Honestly, I was just so good at doing music that I had to do it. I started making music in 2016. I haven’t settled for rap music yet. As for my inspiration, I started doing music as a rapper. Back then, I had a guy I used to do rap battles back and forth with at my school. I think those were my formative years as a musician. I also learned how to play the guitar, so I played the guitar in church and school gatherings. That’s my foundation for music. Moving on, I got sidetracked because I was doing Afrobeats and different kinds of music. But at the root of it all was Hip-hop. For this new chapter of my life, I’m going back to my roots, which is Hip-hop.
How did your upbringing contribute to you becoming a musician?
I’m doing melodic Trap in a country that’s Afrobeats and Amapiano-oriented. That means I’m not scared to stand out. I was born in Warri. I went to secondary school in Imo State. I also went to school in Ogun State, where I was the only Igbo boy in my class at some point. I went to Afe Babalola University, then completed my bachelor’s degree in London. In essence, my upbringing put me in the position where I was always the new guy and nearly always being different.
Were you doing music in all of those locations?
To be fair, no. I was doing music as a hobby, mostly rap battles at parties. But it made me comfortable being the new guy, so I’m here doing Trap. I feel like if I hadn’t had that upbringing where I was always put in unfamiliar situations, I wouldn’t feel comfortable doing my kind of music.
How did your family take the news of you wanting to become an artist?
I had to prove myself to them. It wasn’t easy at first, but eventually they fell in love with the music.
How does “No Games,” tie into your present state as an artist?
I recorded No Games in 2020—mixed, mastered, and everything. I didn’t add anything else. So, I don’t know if this song relates to my present state of mind, but I would say one thing—The reason why I was afraid to drop this song when it was ready no longer plays a role in my life. As I said, I took a detour. Back then, I made Afrobeat songs to try to appeal to people. Now, I’m just doing my thing and enjoying my music journey. I’m learning. My new goal is just to learn and grow.
There is now more appreciation for artists whose style is distinctly Nigerian in terms of language, sound and vibe. Yet, you’ve chosen to go the opposite direction. Why, and how do you think this will play out for you?
Firstly, you can’t be more Nigerian than actually being Nigerian. I was born and raised here, so I don’t have to prove to anybody that I’m Nigerian. Secondly, I see my music becoming more than I can even imagine. I feel it in my bones. During the past festive season, I performed on different stages. On every single stage I touched, the crowd went wild. The truth is, Nigerians appreciate good music; it doesn’t have to be Nigerian-sounding. Right now, I feel like I’m acting as a bridge because I understand and do Afrobeats. At the same time, I’m good at Trap. Whether we like it or not, the Nigerian scene is changing. I love Nigerian music but I feel like the space has evolved.
Who are some of your influences, and why?
My biggest influence in the music scene has been Olamide. Apart from his brand, his music has so many layers and phases. He’s able to fit into many genres of music. I’ve done a Trap song with Olamide and I was blown away by his verse.
When I was young, my significant influence was Michael Jackson. I loved everything about him. I also had a 50 Cent and Lil Wayne era. The people who influenced my sound are not necessarily the same people who influenced my direction as a musician. The people that influenced my sound are M.I. 50 Cent, and Roddy Rich. The one person that influenced me as a musician was Olamide.
You have an EP set to be released soon?
Honestly, I’m not sure what form the project will take yet, whether it will be an EP or an album. But whatever it ends up as, I’m excited about it.
