September 10, 2025 • 36 mins
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Nigerian American artist Ase Odin brings a refreshing blend of Afrobeats, R&B, reggae, and hip-hop, infusing his music with joy, culture, and spirituality. His breakout single “No Wahala” captures the universal stresses of work, money, and daily responsibilities, while offering an uplifting escape through infectious rhythms and melodies. The phrase “no wahala,” meaning “no trouble” in Nigerian Pidgin English, serves as both a mantra and a reminder to embrace life with ease, positivity, and resilience.Born in Benin, Nigeria, and later emigrating to the United States, Ase balances his career as a pharmacist with his lifelong passion for music. His personal journey—supporting family, raising children, and navigating life’s challenges—deeply informs his songwriting, allowing him to connect with listeners on an authentic level. After more than three decades of creating music privately, Ase is now fully embracing his artistry, declaring: “It’s time for me to live my life.”Ase’s work speaks to the global African diaspora, celebrating shared roots and cultural pride. His second release, “Mama Mama,” is a heartfelt tribute to mothers everywhere, delivered in a smooth R&B-reggae fusion. With an upcoming album and multiple singles set for release, Ase is expanding his sound across genres, from love ballads to hip-hop and beyond.At the heart of his music lies a mission: to bring African culture and history to a global stage, highlight themes of spirituality and social justice, and spread a message of hope. His philosophy is simple yet powerful: “Let’s not let anything bog us down. Take one step at a time. Tomorrow will be a different day. No wahala. No trouble.”Dissolve your stress, embrace the rhythm, and experience the uplifting sound of Ase Odin. Connect with him on all platforms for music, videos, and new releases.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
Spotify
Tidal
Youtube
Bio
Nigerian American artist Ase Odin brings a refreshing blend of Afrobeats, R&B, reggae, and hip-hop, infusing his music with joy, culture, and spirituality. His breakout single “No Wahala” captures the universal stresses of work, money, and daily responsibilities, while offering an uplifting escape through infectious rhythms and melodies. The phrase “no wahala,” meaning “no trouble” in Nigerian Pidgin English, serves as both a mantra and a reminder to embrace life with ease, positivity, and resilience.Born in Benin, Nigeria, and later emigrating to the United States, Ase balances his career as a pharmacist with his lifelong passion for music. His personal journey—supporting family, raising children, and navigating life’s challenges—deeply informs his songwriting, allowing him to connect with listeners on an authentic level. After more than three decades of creating music privately, Ase is now fully embracing his artistry, declaring: “It’s time for me to live my life.”Ase’s work speaks to the global African diaspora, celebrating shared roots and cultural pride. His second release, “Mama Mama,” is a heartfelt tribute to mothers everywhere, delivered in a smooth R&B-reggae fusion. With an upcoming album and multiple singles set for release, Ase is expanding his sound across genres, from love ballads to hip-hop and beyond.At the heart of his music lies a mission: to bring African culture and history to a global stage, highlight themes of spirituality and social justice, and spread a message of hope. His philosophy is simple yet powerful: “Let’s not let anything bog us down. Take one step at a time. Tomorrow will be a different day. No wahala. No trouble.”Dissolve your stress, embrace the rhythm, and experience the uplifting sound of Ase Odin. Connect with him on all platforms for music, videos, and new releases.
Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
If you love entertainment, current events, and Hollywood, don't miss
Creator to Creators. Hosted by the filmmaker Mio Shabine, known
for the shutter Hit documentary or Noir and the acclaimed
film Anatomy of.
Speaker 2 (00:17):
An Anti Heroo Redemption. This show features interviews with filmmakers
and creatives from around the globe. Join the fun with
guest celebrities and gain valuable insights. Subscribe now and follow
Creator to Creators.
Speaker 3 (00:33):
Hi, guys, welcome to another episode of Creators to Creators. Today.
Today we have a special guest.
Speaker 4 (00:40):
Oh, my name is as A Odin. As Odin as
the Odin, I mean new artists.
Speaker 3 (00:47):
So thank you, thank you, thank you for coming on
the show. You know, I love I love going back
to the beginning. You know, I always say the beginning
charge our trajectory in life, our little habits we pick
up along the way, follow us into our adulthood. Tell
me a little bit about your childhood. What was what
was that like and when did the love for music begin?
Speaker 4 (01:12):
Well? I grew up in Nigeria. I was born in
Benic City, Nigeria. My childhood was a little bit, a
little bit, uh you know, let me see wasn't just
a linear path of what you expect a little kid
(01:34):
to grow up in my because my parents got married. However,
my father was transferred to another state and so he
he was with the local Amid government police band and
so they transferred him to Alberkuta in the west of Nigeria.
(02:00):
And I was about five years old, so he took
me with him, and then my mother was in venicity.
So I grew yes, So I grew up with my
dad and he was in the police band. He was
extremely good. He was next to, you know, supposingly the
bandmaster that they had there. So each term when he
(02:22):
goes to practice, I go along with him and I
watched her the practice. I see how he actually adore
and take king interest in the sound, the tone, and
(02:43):
how specific he comes with the corprogression and things of such.
And then when it gets home, I cleaned the you know,
the I made the saxophone or the trumpones that he uses.
And that was my job, my job, you know. So
and so that was my childhood and I used to
(03:06):
I was in a very let me see, I was,
you know, I had a little bit of a speech
problem when I was growing up. I used to start,
you know, so I had to add up you know
back then, you you know, you have to survive because
(03:27):
Nigeria is a developing country. So I didn't have to fight,
oh know, how to think, you know, so I did
both both, you know, you know, so you know so
but yeah, yeah man. Then and then that was how
then my love for music, you know, I started coming
(03:49):
along as I go with my dad to do you know,
I met the apartice sessions and how they performed for
the royals, how they performed for the events. And then
on my mom's side, they were traditional singers. They could
(04:10):
sing like yes, they were really really grunted in that.
But I didn't know I had those in it. So
when I get home, we were in privilege to be
able to to buy the musical instruments. So we got
like co hungers sticks and get on top of the
(04:36):
on top of the table and start playing music. Then
get some folks and knives to make the sound more,
to give you some flavor and things of such, you know.
So that's how I started.
Speaker 3 (04:47):
I love that. That's amazing. I mean, I can I
can only imagine as far as like, you know, music
and you know, you know, growing up the music and
rich like the beat and the drums of Nigeria. I
just must be. I was recently inducted into a African induction,
(05:08):
so I have Nigerian in my blood as well. I
was a part of the I want to say you.
Speaker 4 (05:13):
Ruba, yes, yes, actually yes, actually please, I don't need
to coach your show. But a Bedacuarta is in the
Yoroba land, yes, isn't it. You know that's where I
don't know if you head of Fella Fella e l A.
Yeah he was, you know he you know, he was
(05:35):
actually the founder of Aphrobic. Yes, but he came from
a bed Quta and I actually went to when I
when my father we go to work sometimes. You know,
his mother had a daycare by then. That's that's where
you know, my dad put me in. So I was
(05:58):
I was privileged to be able to see him once
in a why but I was very young.
Speaker 3 (06:03):
I was, Yeah, that's beautiful, that's so cool. Yeah, I
think it's just so beautiful. And I mean you're single.
The single is just amazing. I mean you said you're
like you're a new artists. But the song is the
music and the sound is so rich and I just
want to talk about this. You know, you're this song.
(06:24):
It's so uplifting, it's joyful, it's fun. Where did the
idea and the song? How did it come to you?
And and what was like? You know, what was it
like writing it?
Speaker 4 (06:37):
What? Yeah, actually writing it had to be came from
the influence of my experiences with life beautiful and just
knowing that every day, even though we don't acknowledged that,
(06:57):
we what we do is worrying so much about money,
about financial situations. Yeah, we wake up worrying about money
because we're on a time crunch. We're on the schedule.
We go to work, we come home, we stay. Then
we're still on a time crunch because everything has you know,
(07:20):
it's provide you know in some sense, you know, and
then you're calculating how much your light be, your utility bills,
your house, friend, your food, what you're going to make
a body that you do, all of those things. Everything
unfortunately revolves in our lives is centralized around money and
(07:43):
the financial situations. So I saw that, and I was
here because I'm based in the United States and so
I work. Sometimes sometimes I send money home to my
family over there, to my nephew's cousins, the ones that
(08:04):
want to go to school and stuff like that. And
I realized that, you know, coming from a developing country,
one of the things within quite taste is how much pressure. Yeah,
you know, all of these stakes because of the structure,
(08:27):
because of the laws, rules and regulations. So when you
come to a different country of such that you know,
like America that opposingly, you know, developed country and things
of such, you notice that everything is structured. Yeah, and
(08:50):
you don't think you're part of that, but you are.
So how did this song come about? So the song
came about that, you know, I have to just take
a seat back and acknowledge that. You know what I
can see, I know what is going on. So, you know,
(09:14):
I tell myself that every day is a blessing.
Speaker 3 (09:19):
Mm hmm.
Speaker 4 (09:20):
Sometimes it's not so easy to even make it through
the day. Yeah, but guess what tomorrow, it's a different day.
It could even be a better day. Yeah, you know,
So I said, you know, everything is bad money, the
money for lover I don't want will holler, And then
(09:41):
you get because you look at how we go around me,
the human social structure. Even though if we are at
a place of content. You know, it onally lasts for
a while, because if we do not wow any estana
(10:02):
factors bothering us, we proposedly, maybe annoyingly, look for trouble.
Speaker 5 (10:09):
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Speaker 4 (11:03):
That just a way up by nature.
Speaker 3 (11:04):
Yeah, that's so true.
Speaker 4 (11:06):
You know, you know that we are nosy, you know,
you know, so each time we are content, it's not
enough for us. We have to reach out and drag
some chaos in and then we pray against say God,
if you get me out of this, and then we
(11:31):
come to an equilibrium. You know, whether I be the
days of our you know, of our treashold and then
we do the same time again. It's just I'm going
you know, so you know, so that's how I came up
with the son I said, you know, I said, you know,
you know, let's just sit back and have some joy.
(11:53):
Let me take a vacation, get away, come back and reset,
because sometimes when you get away, the most thing that
that does for you is that you reset yourself, You
reset your timeline. You come back, you get it time
to reflect on where you were, what you were doing,
(12:14):
and then when you get back you see things in
a different way. Again. You have that motivation, that courage
to say, okay, life is good.
Speaker 3 (12:25):
Yeah, yes, I love that, Thank you. I love that.
You know you mentioned layering symbols, you know, high hats
and to make people feel happy. What is your like
production process? When you know, usually you look, what does
it look like when you're building a track?
Speaker 4 (12:46):
You know, that's a good question, you know, that's a
very cool question because what you know, the way I
build tracks is hm hmm, I look into I mean, coincidentally,
for me, coincidentally, what I've done is that I've been able,
(13:08):
you know, like I told you, even though I grew
up in I was born in Benic City, Nigeria, which
is a state, but my father was I'm transferred by
the local government police to the west in Aberkota, the Euroverse.
So I grew up in two different cultures as such,
(13:29):
so I was able to embrace you know, the traditional
cultural processes, the rituals, the events, the you know, when
when they do all of those things. And then I
came to America, and short when before I came to America,
we were listening to you know, name it from James
(13:50):
Brown to boman So, the Egos to even I mean
m j of course, and then even the I don't
know if you remember who the Osmond brothers. Donny Osmond, Yes,
because he came along during that time too. So we
(14:12):
just embraced all, you know, from reggae to rock to
uh the you know, let me see to R and B,
especially Marvin Gay. You know, I don't know, of course
you heard of Marvin Gay and yes and the rest.
So we had all of those. We had and when
(14:33):
one of the things that's good that I like it
about my people is that when we hear anything that
is foreign to us, we kind of we gravitate towards this.
We want to know why it's foreign. We want to
(14:53):
know we are noisy that way? Why you know, how
come this is this way? I mean, how come the
sound is we have come? Then we look at from
the you know, intro, to the vocal, to the vocal
tune and to the core progression to you know, diverses
to the bridges and then one of the eurobuds that
(15:16):
I know that you said you may have trade some
of your accential background to the Europe but they are
very musical, very extremely musical people, very very they you know, yeah,
from the talking drums to decembers to admit to the
you know, it's like this thing that you shake with
(15:39):
bids on there. So I got my influences from those cultures,
then from the influence coming to America and then being
able to get out of my share explore those influences
to say, Okay, in my head, doesn't sound like this,
(16:04):
what would like this? Because I mean one of the
things I don't know if you trouble to you know, uh,
out of the country to see actually when they dance,
they do their you know, I mean that their trouble dances.
You know or dances for the rituals and.
Speaker 3 (16:22):
Right, so beautiful, it's beautiful.
Speaker 4 (16:24):
You know sometimes the elderly women, they can stand in
one place and still make the rhythm work. You know
they well, I mean, if if you would just be amazed,
I can stand one place without moving and you see
the shaking, the everything from head to toe from you
(16:47):
would just be amazed about it. So those those things
were me. So I usually I look into the you
know what we make, the beat, the reading, and how
everything will align together and actually make you feel the
(17:12):
next step to I like that, Yeah, this is where
he's going. This is where he's going. And so is
in your head, is in your body, is in your soul,
you are just feeling it s you know, this is
you know. So it doesn't necessarily have to be the
trouble the guitar. It could be the baseline, It could
(17:34):
be the drums that you're talking with. But I tend
to make sure that each of the instruments are talking
with you know, with each other, that they are relating
the message to each other as we go along.
Speaker 3 (17:52):
That's awesome. I love it, yeah, I mean because it's yes,
I love the song and just I mean you know
immediately as when I heard, I was like, I just
want to dance like I felt really good. I felt
really good. You know, you've been making music for thirty
five years from not Mistaken, but only recently started releasing
(18:15):
it publicly. What made you decide now was the right time?
Speaker 4 (18:21):
Well, a couple of things. One was that again I'm
already talked back to developing country. You know, if you're
born when I was born by you know, in a
developing country, your parents, your parents encourage you. They basically
beg you to go to school. Yes, yes, you know.
(18:46):
You know my mom was very proactive in saying, son,
if you don't go to school, I'm gonna kill myself.
Speaker 6 (18:53):
You're like, no, don't people I mean, well, you know,
how are people are as? I generated a lot, you
know so, And then the next step is not you
just went to school because of the close proximity and the.
Speaker 4 (19:12):
Uh, let me see the minimum opportunities that was exposed
to us. They don't want you to just go to
school to have a free choice, for a free mind
of what you are talented in. They want you to
go to school to be you know, for this career,
academic jobs that stable I can bring in an income
(19:37):
where you save people, like you have to be a
doctor if I'm a lawyer, an engineer, you know those
kind of jobs. So so I came to America. I
went to school, I became a pharmacist. A family if
I'm did by profession. And and then I raise my
(19:58):
family and I'm looking because I promised my dad that
I'm silling to do music, even though they forbid me
not to. I said, so they wanted me to raise
my family, to do all of that because I'm the
oldest son. The first song, and you know there's a
big deal when you come from a large family back home. Yeah,
(20:19):
so my mother missed play song. Go to America, be
a doctor, be an engineer, be a pharmacist, be just
just don't do music, you know. So and because they
could see that when I was in high school. When
I was when I was in elementary school, I was
a member of the choir. I was a lady choir.
(20:40):
I ladies and let it everywhere I went. I played
the drums when were like in elementary school, and you
know all those type of things. Then when I was
in high school, I was also being played. I was
a social profet I was played and all of that.
They knew that my talent was not like in these sciences,
was in the arts. Yeah, but they refused to see that.
(21:05):
So I came down here, I went to you doub
here Solophamasy, and then when I was done with that,
I decided during that COVID, you know, during the COVID era,
uh where everybody had to stay home, every you know
(21:26):
where the peak of the COVID was so so telling
that he restructured reset people to have a different mindset people.
You know, you know, I don't know if you record that.
You used to look at big companies, mega companies with
(21:47):
how you know the size of their buildings, of their
you know that they that they had you know, where
they walked from stuff like that. Nobody went to work.
Nobody was yeah, people, we are home. So that kind
of that's when I started saying, you know what, let
me go back to what I love to do.
Speaker 3 (22:08):
I love that, you know.
Speaker 4 (22:10):
You know, So I said, I want my light to shine.
I want I just want to do this and what
comes out of it is fine, but I just want
to I mean, I wanted to start doing my music
for the love of it. Not to be the most
not to be. I just want people to I want
to send message and share with people.
Speaker 3 (22:31):
Yes, yes, I love that you did. I love that
you followed your heart. And I feel like that's important
to do in this life that we live right we Yes,
we can live for our family and our honor them.
But at the end of the day, your heart is
or your soul feels more fulfilled when you do what
you want to do.
Speaker 4 (22:50):
Yes, yes, thank you, thank.
Speaker 3 (22:52):
You absolutely, you know. I love asking this question on
the show. And there's no wrong answer. But the three
levels of influence, money, power, and respect. And if you
could choose only one of those things, which one would
you choose? And why.
Speaker 4 (23:12):
I will choose respect, And the reason why we choose
respect is that I have been opportunity to have. You know,
I'm not rich, but I'm okay financially, and I have
seen the true colors of people with power and money
(23:38):
and how as some of them, I want to say
most of them, some of them do not care on
who they tread, on who they work on to get
what they want. Yeah, and I have seen also this
(24:00):
you have seen also, so let me share this with you. You
look at the mega churches. M look at the pastors. Yeah,
they have helicopter, they have airplane, they have mega mansioned homes,
(24:20):
and they are getting your people, my people who are
laborers who work as wearers and waitresses who just make
the minimum wage to donate all they have so they
can keep living like this, and they look them in
the eye and actually claim that this is divine, this
(24:47):
is the Holy Spirit, this is God turning the religion
into a business. Yeah, you know, so that is painful
for me to even think about. So I just wanted to.
Speaker 3 (24:59):
Share same same. It's really sad that we live in
such a world that's like that, that people will use
God as the will hide behind God. Yes, this is
this is what we're doing. This is where this is
for God, when it's really for themselves. So yeah, it's
really sad.
Speaker 4 (25:20):
I really want you to Okay. The reason why that's
so personal to me is this, when you live in
a country that's you know, like when you live in
a country like America or some countries that are developed
like in Europe, stuff like that, when people make you know,
the lifestyle, they have basic needs, they have a lot
(25:42):
of that. But why you take this too Todd world countries,
underdeveloped countries, developing countries where the minimum wage is zero
is nothing. People are going to the dumb to go
look for coke, borrows m h to say, so they
(26:05):
can get a penny, so they can get five pennies
just to make it to the day. And then you
are then you are taking your I mean you are
using your voice, your power, you know, being a good orator.
You are leading these people, you are leading them into
(26:29):
I mean it's just unthinkable to think that, you know,
they all give me all you have, give me this,
and they have nothing. Yeah, thank you for listening.
Speaker 3 (26:42):
No, no, no, I yeah, thank you for sharing that.
I I recently did a project called Church Hurd. It's
an audio series, a six part series, and it's about
how you know, power helped people. Pastors, you know, use
God's name to profit off of people vulnerability and and
you know, traumas and and and it's it's definitely a
(27:04):
business unfortunately, because you know, I'm not saying that God
is the problem, but I think people are at the
end of the day. Yeah, yeah, yeah, you know, and
and which you know, bring me to my point of music,
because you know, I don't know if you've seen. The
difference of the music industry here in America is so
(27:28):
it's different. It's it's it's you know, it's really saturated, right,
It's a lot of people doing music and they're trying
to get their song on the charts, the Billboard charts,
to be number one and all the things. And you know,
how do you know, not let that get you know,
(27:49):
your focus that you continue just to make music for
the love of it and the art of it and
not kind of get caught in the rat race of
like you said, being number one. Like most people, well
they'll quit making music or quit creating because they don't
see the profit of what they're getting.
Speaker 4 (28:07):
Well, I mean, here's the way I look at it.
There's no linear path. Okay. So if you are taking
if you love music and you are creating your own music,
and you are writing your songs, you are putting these
(28:28):
sounds together and just want if your goal is for
you to be number one, sometimes what happens is that, unknowingly,
I'm a subliminate, you know, Subliminately, what happens is that
you lose part of your creativity because you are so
(28:52):
focused on the business side of it. Yeah, and you
don't see that coming because if you just focus on
your music, they just want to get at the message.
You want people to have fun, you want to get
at you want people to mean, you want to share
your life experiences with people and let them have fun.
(29:15):
When they need to have phone, well, let them reflect
when they you know, just be with them, you know,
let them know that, hey, you're making music. Listen to word.
You know, this may help you along the way on
some days, on some you know, on some you know,
in some situations. You know, when you listen to my music,
(29:36):
they say, you know what, I'm okay today, you know,
you know. Yeah, So when you start focusing on, say
I have to be number one, it's your goal. The
business side, just like what we spoke about, the Mega
passed us, the revenues that are doing this, the Mega
(29:58):
is the same thing. They want to be number one, right,
so they are creating mega I mean mega churches they are,
you know, they are competing with each other with how
many airplanes they have, you know, who has you know,
the most beautiful homes? Who has this? But then you
forget that God's love had nothing to do with that,
(30:21):
because actually, if you read the Bible, Jesus Christ did
not associate aligned with the rich or the elite. He
associated with the poor, under privilege, the under said the purpose.
(30:42):
Those are the people he resonated with. It wasn't with
the rich. So when you focus on that day, I
just have to be number one. I just have to
be number one. Are you losing yourself to be number one?
Are you losing what you really love? What you're Clay
intentions should have been to say, I just want to
(31:05):
share my love of music with people.
Speaker 3 (31:08):
I love that. That's beautiful. What what's if you could
you know, collaborate with a dream artist on another on
the song that you have coming up? Who would it be?
And why?
Speaker 4 (31:24):
Wow, that's a good one because you know some of
the songs that have coming up are kind of they're
of like on a tangent, like moving towards the social
norms and politics.
Speaker 3 (31:41):
Nice.
Speaker 4 (31:42):
Yeah, so because I have those coming up, and you know,
so if let's say Bob Marley.
Speaker 3 (31:51):
Was alive, Oh yes.
Speaker 4 (31:54):
Because Bob Maley went through I mean what people do
not know is that, I mean what they see is
quite different sometimes on the artinery, on the on how
he got to where he is, or every day thing
that he went through to be to be, you know,
(32:16):
to be by the same with Fella ras Kuti he
fell I was alive, you know, I would love to
collaborate with people because they both were kind of but
money was more of the social norms, more of the
political side.
Speaker 3 (32:38):
I love that.
Speaker 4 (32:38):
Then if somebody like Michael Jackson was alive, I would
have loved to take because he was you know, he
he was just an icon. Yeah, different, you know, I
mean from a different dimension completely.
Speaker 3 (32:54):
For sure, for sure. Really quick, My last question is
what advice would you give to anyone out there that's
trying to get into.
Speaker 4 (33:04):
Music, Oh that's trying to get into music. Well one
is that do not under my any culture, any tradition,
any tribal music that you hear, just do not undermind them.
(33:27):
Just bring them along in your own portfolio, in your head,
you know, to say, because that's how you know, like
the question you had asked me, what you know, how
do you make your music? Stuff like that, because that
will help you along the way, you know, as you
move on. Then too, is that just keep your dream,
(33:49):
don't give up because they are going to be the
valleys and the mountains to go under and climb. It's
not going you know, it's not an easy road. It's
never going to be easy because most people this is
what they want to do for as your career, as
(34:12):
your life line. And some people like you as just
now not just that it's not enough of it. They
want the same. So when you are going along those road,
you just want to make sure that you say true
to yourself. At the same time, it's okay for you
to know what's going on out there so you can compete.
You can know where you are at. But be original. Yes,
(34:36):
the original, the original, and so just don't give up
on your dream. Don't give up on your dream. But
it's your job to do your homework.
Speaker 3 (34:46):
Yeah, I love that. That's great. It's great advice. Where
can people find you on social media to allow going on?
Speaker 4 (34:55):
So, oh, thank you so much. I have my website
up now. It's just up now. We are working women
working on into MAU. Sure that is you know that
everyone has access to it, but it's under I said
odin A S E O D I N dot com.
Speaker 3 (35:16):
Beautiful, that's awesome dot com.
Speaker 4 (35:20):
Thank you.
Speaker 3 (35:20):
I'll have it in the description box as well so
people can just click on it. And go straight to
your links and stuff into the song. So thank you
so much. This was so much fun. I had it.
It was a pleasure.
Speaker 4 (35:32):
Thank you so much. I appreciate you, know, I mean,
I would say the spelling of your name is n
e O s h uh huh. Right, hey, well, thank
you so much for I mean forgiving me, for for
granted me the opportunity to absolutely thank you. Have a
great week.
Speaker 3 (35:51):
You too, and thank you all for listening and always
remember to live love life. We'll see you guys next time.
Speaker 4 (36:00):
Havai.
If you love entertainment, current events, and Hollywood, don't miss
Creator to Creators. Hosted by the filmmaker Mio Shabine, known
for the shutter Hit documentary or Noir and the acclaimed
film Anatomy of.
Speaker 2 (00:17):
An Anti Heroo Redemption. This show features interviews with filmmakers
and creatives from around the globe. Join the fun with
guest celebrities and gain valuable insights. Subscribe now and follow
Creator to Creators.
Speaker 3 (00:33):
Hi, guys, welcome to another episode of Creators to Creators. Today.
Today we have a special guest.
Speaker 4 (00:40):
Oh, my name is as A Odin. As Odin as
the Odin, I mean new artists.
Speaker 3 (00:47):
So thank you, thank you, thank you for coming on
the show. You know, I love I love going back
to the beginning. You know, I always say the beginning
charge our trajectory in life, our little habits we pick
up along the way, follow us into our adulthood. Tell
me a little bit about your childhood. What was what
was that like and when did the love for music begin?
Speaker 4 (01:12):
Well? I grew up in Nigeria. I was born in
Benic City, Nigeria. My childhood was a little bit, a
little bit, uh you know, let me see wasn't just
a linear path of what you expect a little kid
(01:34):
to grow up in my because my parents got married. However,
my father was transferred to another state and so he
he was with the local Amid government police band and
so they transferred him to Alberkuta in the west of Nigeria.
(02:00):
And I was about five years old, so he took
me with him, and then my mother was in venicity.
So I grew yes, So I grew up with my
dad and he was in the police band. He was
extremely good. He was next to, you know, supposingly the
bandmaster that they had there. So each term when he
(02:22):
goes to practice, I go along with him and I
watched her the practice. I see how he actually adore
and take king interest in the sound, the tone, and
(02:43):
how specific he comes with the corprogression and things of such.
And then when it gets home, I cleaned the you know,
the I made the saxophone or the trumpones that he uses.
And that was my job, my job, you know. So
and so that was my childhood and I used to
(03:06):
I was in a very let me see, I was,
you know, I had a little bit of a speech
problem when I was growing up. I used to start,
you know, so I had to add up you know
back then, you you know, you have to survive because
(03:27):
Nigeria is a developing country. So I didn't have to fight,
oh know, how to think, you know, so I did
both both, you know, you know, so you know so
but yeah, yeah man. Then and then that was how
then my love for music, you know, I started coming
(03:49):
along as I go with my dad to do you know,
I met the apartice sessions and how they performed for
the royals, how they performed for the events. And then
on my mom's side, they were traditional singers. They could
(04:10):
sing like yes, they were really really grunted in that.
But I didn't know I had those in it. So
when I get home, we were in privilege to be
able to to buy the musical instruments. So we got
like co hungers sticks and get on top of the
(04:36):
on top of the table and start playing music. Then
get some folks and knives to make the sound more,
to give you some flavor and things of such, you know.
So that's how I started.
Speaker 3 (04:47):
I love that. That's amazing. I mean, I can I
can only imagine as far as like, you know, music
and you know, you know, growing up the music and
rich like the beat and the drums of Nigeria. I
just must be. I was recently inducted into a African induction,
(05:08):
so I have Nigerian in my blood as well. I
was a part of the I want to say you.
Speaker 4 (05:13):
Ruba, yes, yes, actually yes, actually please, I don't need
to coach your show. But a Bedacuarta is in the
Yoroba land, yes, isn't it. You know that's where I
don't know if you head of Fella Fella e l A.
Yeah he was, you know he you know, he was
(05:35):
actually the founder of Aphrobic. Yes, but he came from
a bed Quta and I actually went to when I
when my father we go to work sometimes. You know,
his mother had a daycare by then. That's that's where
you know, my dad put me in. So I was
(05:58):
I was privileged to be able to see him once
in a why but I was very young.
Speaker 3 (06:03):
I was, Yeah, that's beautiful, that's so cool. Yeah, I
think it's just so beautiful. And I mean you're single.
The single is just amazing. I mean you said you're
like you're a new artists. But the song is the
music and the sound is so rich and I just
want to talk about this. You know, you're this song.
(06:24):
It's so uplifting, it's joyful, it's fun. Where did the
idea and the song? How did it come to you?
And and what was like? You know, what was it
like writing it?
Speaker 4 (06:37):
What? Yeah, actually writing it had to be came from
the influence of my experiences with life beautiful and just
knowing that every day, even though we don't acknowledged that,
(06:57):
we what we do is worrying so much about money,
about financial situations. Yeah, we wake up worrying about money
because we're on a time crunch. We're on the schedule.
We go to work, we come home, we stay. Then
we're still on a time crunch because everything has you know,
(07:20):
it's provide you know in some sense, you know, and
then you're calculating how much your light be, your utility bills,
your house, friend, your food, what you're going to make
a body that you do, all of those things. Everything
unfortunately revolves in our lives is centralized around money and
(07:43):
the financial situations. So I saw that, and I was
here because I'm based in the United States and so
I work. Sometimes sometimes I send money home to my
family over there, to my nephew's cousins, the ones that
(08:04):
want to go to school and stuff like that. And
I realized that, you know, coming from a developing country,
one of the things within quite taste is how much pressure. Yeah,
you know, all of these stakes because of the structure,
(08:27):
because of the laws, rules and regulations. So when you
come to a different country of such that you know,
like America that opposingly, you know, developed country and things
of such, you notice that everything is structured. Yeah, and
(08:50):
you don't think you're part of that, but you are.
So how did this song come about? So the song
came about that, you know, I have to just take
a seat back and acknowledge that. You know what I
can see, I know what is going on. So, you know,
(09:14):
I tell myself that every day is a blessing.
Speaker 3 (09:19):
Mm hmm.
Speaker 4 (09:20):
Sometimes it's not so easy to even make it through
the day. Yeah, but guess what tomorrow, it's a different day.
It could even be a better day. Yeah, you know,
So I said, you know, everything is bad money, the
money for lover I don't want will holler, And then
(09:41):
you get because you look at how we go around me,
the human social structure. Even though if we are at
a place of content. You know, it onally lasts for
a while, because if we do not wow any estana
(10:02):
factors bothering us, we proposedly, maybe annoyingly, look for trouble.
Speaker 5 (10:09):
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Sharing stark real stories like Shattered Faith, Voices, Unheard Preacher's Kid,
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(10:31):
testimonies from survivors and experts, this series not only exposes
the wounds caused within sacred spaces, but also illuminates a
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and more, Church Hurt invites listeners to listen, understand, and heal.
Speaker 4 (11:03):
That just a way up by nature.
Speaker 3 (11:04):
Yeah, that's so true.
Speaker 4 (11:06):
You know, you know that we are nosy, you know,
you know, so each time we are content, it's not
enough for us. We have to reach out and drag
some chaos in and then we pray against say God,
if you get me out of this, and then we
(11:31):
come to an equilibrium. You know, whether I be the
days of our you know, of our treashold and then
we do the same time again. It's just I'm going
you know, so you know, so that's how I came up
with the son I said, you know, I said, you know,
you know, let's just sit back and have some joy.
(11:53):
Let me take a vacation, get away, come back and reset,
because sometimes when you get away, the most thing that
that does for you is that you reset yourself, You
reset your timeline. You come back, you get it time
to reflect on where you were, what you were doing,
(12:14):
and then when you get back you see things in
a different way. Again. You have that motivation, that courage
to say, okay, life is good.
Speaker 3 (12:25):
Yeah, yes, I love that, Thank you. I love that.
You know you mentioned layering symbols, you know, high hats
and to make people feel happy. What is your like
production process? When you know, usually you look, what does
it look like when you're building a track?
Speaker 4 (12:46):
You know, that's a good question, you know, that's a
very cool question because what you know, the way I
build tracks is hm hmm, I look into I mean, coincidentally,
for me, coincidentally, what I've done is that I've been able,
(13:08):
you know, like I told you, even though I grew
up in I was born in Benic City, Nigeria, which
is a state, but my father was I'm transferred by
the local government police to the west in Aberkota, the Euroverse.
So I grew up in two different cultures as such,
(13:29):
so I was able to embrace you know, the traditional
cultural processes, the rituals, the events, the you know, when
when they do all of those things. And then I
came to America, and short when before I came to America,
we were listening to you know, name it from James
(13:50):
Brown to boman So, the Egos to even I mean
m j of course, and then even the I don't
know if you remember who the Osmond brothers. Donny Osmond, Yes,
because he came along during that time too. So we
(14:12):
just embraced all, you know, from reggae to rock to
uh the you know, let me see to R and B,
especially Marvin Gay. You know, I don't know, of course
you heard of Marvin Gay and yes and the rest.
So we had all of those. We had and when
(14:33):
one of the things that's good that I like it
about my people is that when we hear anything that
is foreign to us, we kind of we gravitate towards this.
We want to know why it's foreign. We want to
(14:53):
know we are noisy that way? Why you know, how
come this is this way? I mean, how come the
sound is we have come? Then we look at from
the you know, intro, to the vocal, to the vocal
tune and to the core progression to you know, diverses
to the bridges and then one of the eurobuds that
(15:16):
I know that you said you may have trade some
of your accential background to the Europe but they are
very musical, very extremely musical people, very very they you know, yeah,
from the talking drums to decembers to admit to the
you know, it's like this thing that you shake with
(15:39):
bids on there. So I got my influences from those cultures,
then from the influence coming to America and then being
able to get out of my share explore those influences
to say, Okay, in my head, doesn't sound like this,
(16:04):
what would like this? Because I mean one of the
things I don't know if you trouble to you know, uh,
out of the country to see actually when they dance,
they do their you know, I mean that their trouble dances.
You know or dances for the rituals and.
Speaker 3 (16:22):
Right, so beautiful, it's beautiful.
Speaker 4 (16:24):
You know sometimes the elderly women, they can stand in
one place and still make the rhythm work. You know
they well, I mean, if if you would just be amazed,
I can stand one place without moving and you see
the shaking, the everything from head to toe from you
(16:47):
would just be amazed about it. So those those things
were me. So I usually I look into the you
know what we make, the beat, the reading, and how
everything will align together and actually make you feel the
(17:12):
next step to I like that, Yeah, this is where
he's going. This is where he's going. And so is
in your head, is in your body, is in your soul,
you are just feeling it s you know, this is
you know. So it doesn't necessarily have to be the
trouble the guitar. It could be the baseline, It could
(17:34):
be the drums that you're talking with. But I tend
to make sure that each of the instruments are talking
with you know, with each other, that they are relating
the message to each other as we go along.
Speaker 3 (17:52):
That's awesome. I love it, yeah, I mean because it's yes,
I love the song and just I mean you know
immediately as when I heard, I was like, I just
want to dance like I felt really good. I felt
really good. You know, you've been making music for thirty
five years from not Mistaken, but only recently started releasing
(18:15):
it publicly. What made you decide now was the right time?
Speaker 4 (18:21):
Well, a couple of things. One was that again I'm
already talked back to developing country. You know, if you're
born when I was born by you know, in a
developing country, your parents, your parents encourage you. They basically
beg you to go to school. Yes, yes, you know.
(18:46):
You know my mom was very proactive in saying, son,
if you don't go to school, I'm gonna kill myself.
Speaker 6 (18:53):
You're like, no, don't people I mean, well, you know,
how are people are as? I generated a lot, you
know so, And then the next step is not you
just went to school because of the close proximity and the.
Speaker 4 (19:12):
Uh, let me see the minimum opportunities that was exposed
to us. They don't want you to just go to
school to have a free choice, for a free mind
of what you are talented in. They want you to
go to school to be you know, for this career,
academic jobs that stable I can bring in an income
(19:37):
where you save people, like you have to be a
doctor if I'm a lawyer, an engineer, you know those
kind of jobs. So so I came to America. I
went to school, I became a pharmacist. A family if
I'm did by profession. And and then I raise my
(19:58):
family and I'm looking because I promised my dad that
I'm silling to do music, even though they forbid me
not to. I said, so they wanted me to raise
my family, to do all of that because I'm the
oldest son. The first song, and you know there's a
big deal when you come from a large family back home. Yeah,
(20:19):
so my mother missed play song. Go to America, be
a doctor, be an engineer, be a pharmacist, be just
just don't do music, you know. So and because they
could see that when I was in high school. When
I was when I was in elementary school, I was
a member of the choir. I was a lady choir.
(20:40):
I ladies and let it everywhere I went. I played
the drums when were like in elementary school, and you
know all those type of things. Then when I was
in high school, I was also being played. I was
a social profet I was played and all of that.
They knew that my talent was not like in these sciences,
was in the arts. Yeah, but they refused to see that.
(21:05):
So I came down here, I went to you doub
here Solophamasy, and then when I was done with that,
I decided during that COVID, you know, during the COVID era,
uh where everybody had to stay home, every you know
(21:26):
where the peak of the COVID was so so telling
that he restructured reset people to have a different mindset people.
You know, you know, I don't know if you record that.
You used to look at big companies, mega companies with
(21:47):
how you know the size of their buildings, of their
you know that they that they had you know, where
they walked from stuff like that. Nobody went to work.
Nobody was yeah, people, we are home. So that kind
of that's when I started saying, you know what, let
me go back to what I love to do.
Speaker 3 (22:08):
I love that, you know.
Speaker 4 (22:10):
You know, So I said, I want my light to shine.
I want I just want to do this and what
comes out of it is fine, but I just want
to I mean, I wanted to start doing my music
for the love of it. Not to be the most
not to be. I just want people to I want
to send message and share with people.
Speaker 3 (22:31):
Yes, yes, I love that you did. I love that
you followed your heart. And I feel like that's important
to do in this life that we live right we Yes,
we can live for our family and our honor them.
But at the end of the day, your heart is
or your soul feels more fulfilled when you do what
you want to do.
Speaker 4 (22:50):
Yes, yes, thank you, thank.
Speaker 3 (22:52):
You absolutely, you know. I love asking this question on
the show. And there's no wrong answer. But the three
levels of influence, money, power, and respect. And if you
could choose only one of those things, which one would
you choose? And why.
Speaker 4 (23:12):
I will choose respect, And the reason why we choose
respect is that I have been opportunity to have. You know,
I'm not rich, but I'm okay financially, and I have
seen the true colors of people with power and money
(23:38):
and how as some of them, I want to say
most of them, some of them do not care on
who they tread, on who they work on to get
what they want. Yeah, and I have seen also this
(24:00):
you have seen also, so let me share this with you. You
look at the mega churches. M look at the pastors. Yeah,
they have helicopter, they have airplane, they have mega mansioned homes,
(24:20):
and they are getting your people, my people who are
laborers who work as wearers and waitresses who just make
the minimum wage to donate all they have so they
can keep living like this, and they look them in
the eye and actually claim that this is divine, this
(24:47):
is the Holy Spirit, this is God turning the religion
into a business. Yeah, you know, so that is painful
for me to even think about. So I just wanted to.
Speaker 3 (24:59):
Share same same. It's really sad that we live in
such a world that's like that, that people will use
God as the will hide behind God. Yes, this is
this is what we're doing. This is where this is
for God, when it's really for themselves. So yeah, it's
really sad.
Speaker 4 (25:20):
I really want you to Okay. The reason why that's
so personal to me is this, when you live in
a country that's you know, like when you live in
a country like America or some countries that are developed
like in Europe, stuff like that, when people make you know,
the lifestyle, they have basic needs, they have a lot
(25:42):
of that. But why you take this too Todd world countries,
underdeveloped countries, developing countries where the minimum wage is zero
is nothing. People are going to the dumb to go
look for coke, borrows m h to say, so they
(26:05):
can get a penny, so they can get five pennies
just to make it to the day. And then you
are then you are taking your I mean you are
using your voice, your power, you know, being a good orator.
You are leading these people, you are leading them into
(26:29):
I mean it's just unthinkable to think that, you know,
they all give me all you have, give me this,
and they have nothing. Yeah, thank you for listening.
Speaker 3 (26:42):
No, no, no, I yeah, thank you for sharing that.
I I recently did a project called Church Hurd. It's
an audio series, a six part series, and it's about
how you know, power helped people. Pastors, you know, use
God's name to profit off of people vulnerability and and
you know, traumas and and and it's it's definitely a
(27:04):
business unfortunately, because you know, I'm not saying that God
is the problem, but I think people are at the
end of the day. Yeah, yeah, yeah, you know, and
and which you know, bring me to my point of music,
because you know, I don't know if you've seen. The
difference of the music industry here in America is so
(27:28):
it's different. It's it's it's you know, it's really saturated, right,
It's a lot of people doing music and they're trying
to get their song on the charts, the Billboard charts,
to be number one and all the things. And you know,
how do you know, not let that get you know,
(27:49):
your focus that you continue just to make music for
the love of it and the art of it and
not kind of get caught in the rat race of
like you said, being number one. Like most people, well
they'll quit making music or quit creating because they don't
see the profit of what they're getting.
Speaker 4 (28:07):
Well, I mean, here's the way I look at it.
There's no linear path. Okay. So if you are taking
if you love music and you are creating your own music,
and you are writing your songs, you are putting these
(28:28):
sounds together and just want if your goal is for
you to be number one, sometimes what happens is that, unknowingly,
I'm a subliminate, you know, Subliminately, what happens is that
you lose part of your creativity because you are so
(28:52):
focused on the business side of it. Yeah, and you
don't see that coming because if you just focus on
your music, they just want to get at the message.
You want people to have fun, you want to get
at you want people to mean, you want to share
your life experiences with people and let them have fun.
(29:15):
When they need to have phone, well, let them reflect
when they you know, just be with them, you know,
let them know that, hey, you're making music. Listen to word.
You know, this may help you along the way on
some days, on some you know, on some you know,
in some situations. You know, when you listen to my music,
(29:36):
they say, you know what, I'm okay today, you know,
you know. Yeah, So when you start focusing on, say
I have to be number one, it's your goal. The
business side, just like what we spoke about, the Mega
passed us, the revenues that are doing this, the Mega
(29:58):
is the same thing. They want to be number one, right,
so they are creating mega I mean mega churches they are,
you know, they are competing with each other with how
many airplanes they have, you know, who has you know,
the most beautiful homes? Who has this? But then you
forget that God's love had nothing to do with that,
(30:21):
because actually, if you read the Bible, Jesus Christ did
not associate aligned with the rich or the elite. He
associated with the poor, under privilege, the under said the purpose.
(30:42):
Those are the people he resonated with. It wasn't with
the rich. So when you focus on that day, I
just have to be number one. I just have to
be number one. Are you losing yourself to be number one?
Are you losing what you really love? What you're Clay
intentions should have been to say, I just want to
(31:05):
share my love of music with people.
Speaker 3 (31:08):
I love that. That's beautiful. What what's if you could
you know, collaborate with a dream artist on another on
the song that you have coming up? Who would it be?
And why?
Speaker 4 (31:24):
Wow, that's a good one because you know some of
the songs that have coming up are kind of they're
of like on a tangent, like moving towards the social
norms and politics.
Speaker 3 (31:41):
Nice.
Speaker 4 (31:42):
Yeah, so because I have those coming up, and you know,
so if let's say Bob Marley.
Speaker 3 (31:51):
Was alive, Oh yes.
Speaker 4 (31:54):
Because Bob Maley went through I mean what people do
not know is that, I mean what they see is
quite different sometimes on the artinery, on the on how
he got to where he is, or every day thing
that he went through to be to be, you know,
(32:16):
to be by the same with Fella ras Kuti he
fell I was alive, you know, I would love to
collaborate with people because they both were kind of but
money was more of the social norms, more of the
political side.
Speaker 3 (32:38):
I love that.
Speaker 4 (32:38):
Then if somebody like Michael Jackson was alive, I would
have loved to take because he was you know, he
he was just an icon. Yeah, different, you know, I
mean from a different dimension completely.
Speaker 3 (32:54):
For sure, for sure. Really quick, My last question is
what advice would you give to anyone out there that's
trying to get into.
Speaker 4 (33:04):
Music, Oh that's trying to get into music. Well one
is that do not under my any culture, any tradition,
any tribal music that you hear, just do not undermind them.
(33:27):
Just bring them along in your own portfolio, in your head,
you know, to say, because that's how you know, like
the question you had asked me, what you know, how
do you make your music? Stuff like that, because that
will help you along the way, you know, as you
move on. Then too, is that just keep your dream,
(33:49):
don't give up because they are going to be the
valleys and the mountains to go under and climb. It's
not going you know, it's not an easy road. It's
never going to be easy because most people this is
what they want to do for as your career, as
(34:12):
your life line. And some people like you as just
now not just that it's not enough of it. They
want the same. So when you are going along those road,
you just want to make sure that you say true
to yourself. At the same time, it's okay for you
to know what's going on out there so you can compete.
You can know where you are at. But be original. Yes,
(34:36):
the original, the original, and so just don't give up
on your dream. Don't give up on your dream. But
it's your job to do your homework.
Speaker 3 (34:46):
Yeah, I love that. That's great. It's great advice. Where
can people find you on social media to allow going on?
Speaker 4 (34:55):
So, oh, thank you so much. I have my website
up now. It's just up now. We are working women
working on into MAU. Sure that is you know that
everyone has access to it, but it's under I said
odin A S E O D I N dot com.
Speaker 3 (35:16):
Beautiful, that's awesome dot com.
Speaker 4 (35:20):
Thank you.
Speaker 3 (35:20):
I'll have it in the description box as well so
people can just click on it. And go straight to
your links and stuff into the song. So thank you
so much. This was so much fun. I had it.
It was a pleasure.
Speaker 4 (35:32):
Thank you so much. I appreciate you, know, I mean,
I would say the spelling of your name is n
e O s h uh huh. Right, hey, well, thank
you so much for I mean forgiving me, for for
granted me the opportunity to absolutely thank you. Have a
great week.
Speaker 3 (35:51):
You too, and thank you all for listening and always
remember to live love life. We'll see you guys next time.
Speaker 4 (36:00):
Havai.
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