From OJB Jezreel to Don Jazzy, Sarz to P.Priime, producers have always been the backbone of Afrobeats and the wider Nigerian music scene. But although we know what they bring to the game, producers have historically been under-celebrated, with one particular subgroup almost never being acknowledged: female producers.
As Women’s History Month just concluded, WeTalkSound decided there’s no time like the present to change this narrative. We reached out to 5 women who are firmly in their production bag, making their marks on the Nigerian music scene. Here’s what Yimeeka, Sensei Lo, Saszy Afroshii, Kleros, and Loc The Plug had to say about building their careers and navigating today’s music industry.
Please note that responses have been edited for length & clarity.
Can you walk us through your creative process when making a beat?
YIMEEKA: Most days, I make whatever I am feeling. Music is my safest form of expression so I start with the first thing that comes to my head. There are days where I’m sad and I only want to work on keys and vocals with no percussion but there are other days where I feel like percussions are the way to start. It might be from a movie I’m watching or a song I just heard, but I usually want to have vocal samples on most of my beats.
SENSEI: First off, before I tap into any form of sound, I start my process with a cup of tea (can never go wrong with tea!) before I listen. If it is a vibe I have already been on, maybe inspired by other stuff I’ve listened to, I love to start with the drums. The drums and the groove for me are the most important aspect of my creative process. Even if I don’t have the whole picture yet, once I start with those, it opens me up to new heights of creativity where I just tap in.
Next would be the melodic part comprising the keys, synth, lead or strings. Once these 2 components are done, the next thing I focus on is the arrangement. This is usually the longest part of the entire process. Deciding on how I want to introduce the song, the high and low points, how to infuse energy into the track, etc.
LOC: My creative process varies depending on the project and my overall mood. I could either have a concept in mind or nothing at all. With a blank mind, I try to create by letting the voices in my head lead me. When I work with an already existing concept, I usually start by gathering inspiration from a specific emotion, theme, or vibe that I want to convey through the track. I take some time to conceptualize the overall feel before diving into the technical aspects.
Once I have a clear idea, I select the foundational sounds. This involves choosing drums, melodies, and harmonies that complement each other & fit the vibe I’m aiming for. Next, I move on to rhythm and groove, melodies, and arrangement. I don’t always work in that order though, my process isn’t static. When the track is structurally sound, I refine the individual sounds to make certain elements stand out or sit well in the mix. Sometimes, I’ll experiment with automation. The last step is to mix the track, ensuring all elements blend together while giving each one space to breathe. Ultimately, my process is both structured and fluid—sometimes, unexpected discoveries happen along the way, and I let the music guide me toward the best outcome. I’ll always say, there are no dang rules in the flow of creativity!
KLEROS: It’s different for every beat. Once I have an idea, I lay down everything related to it then move from there.
SASZY: When making beats lately, I’ve found that I love to start with the melodies or chords. It allows me to express more, bringing in the feel but if I need it to be groovy I start with the percussion.
What’s one song you’ve produced that you’re most proud of?
YIMEEKA: Odeal’s Free me.
SENSEI: ‘Ibadan Malimbe’. This is a very special record to me, because I was approached by a group that focuses on birds in Africa facing extinction in conjuction with the BBC. And we were tasked to create songs using the actual bird sounds from the region. I was given the Ibadan malimbe (Malimbus ibadanensis) which is a rare species, and I was able to come up with an amazing Deep House Record. For me it was a very challenging project and I am glad the outcome met the expectation.
LOC: My most proud productions are on my unreleased projects with various artists, sadly. Personally, I couldn’t say one in particular is my proudest because I have a lot of amazing unreleased music in my archives waiting to bless the ears of the audience at the right time.
KLEROS: I’d say ‘Be There’off the Lemon Vinyl album If Life Gives You Lemons.
SASZY: I really can not decide but working on Taves’ Apology or Fave’s Mr Man.
How do you approach working with artists to bring their vision to life?
YIMEEKA: Honestly I just listen. I’ve always struggled to express myself as an artist, so I just try to be open-minded and listen to their ideas and suggestions. I don’t think any idea is dumb: even if it’s a hum, I try to take everything in with an open mind.
SENSEI: First, I try to understand the vision of what and how they want their sound tailored. Then I try to understand where they are in relation to the sound they want me to bring to life. This helps a lot in the creation process especially with artists who allow you to be fully expressive.
LOC: My approach is built on collaboration and open communication to bring the artist’s vision to life. I start with an initial consultation, a deep conversation to understand not just their desired sound but also the emotions, themes, and message they want to convey. Once aligned, I develop a creative concept to ensure we’re on the same page before production begins. Throughout the process, I welcome feedback and expression, making sure I’m a true partner in their creative process.
KLEROS: It’s important to be open-minded from the start. Allow everyone’s creative ideas to be aired out.
SASZY: Whomever I work with, I find it easier to communicate and create. Sometimes I play already made instrumentals and other times we start from scratch, whichever way works.
What challenges have you faced as a female producer in the industry?
YIMEEKA: I don’t like saying there aren’t challenges and I would not like to invalidate any other woman’s experience; but I just take every single occurrence whether good or bad as an opportunity to learn and ensure I protect myself and my creativity.
SENSEI: As a woman in any field you have to work twice as hard, and to be honest, there is no exception in music. Personally, I like to let my work speak for me but I would say in recent times more spaces are opening up for women which is a good thing.
KLEROS: Being overlooked. Usually I don’t care anymore, my work speaks so I don’t need to.
SASZY: I think there are a lot of challenges but the universal issue would be not having enough PR or awareness around us, a lot of people do not know that female producers exist. I believe more opportunities for the women would help create more awareness .
LOC: There’s often an unconscious bias where my skills are questioned simply because I’m a woman. I’ve had to let the quality of my work speak for itself. When I became a full-time producer, I started intentionally creating beats that could compete with—and even outshine—those of my male counterparts. Some people couldn’t believe a woman made my earlier instrumentals because they felt they were “too creatively aggressive” for a woman (PS: I always enjoyed their shock!)
Also, as a self-taught producer, the lack of female role models and mentors has been tough, but it’s also motivated me to be that support for others. I’ve started doing this through teaching, facilitating programs, and mentoring aspiring female producers and engineers. In more traditional or technical spaces, it can still be a struggle to be taken seriously, but I stay focused on growing my craft and helping other women do the same.
Navigating the networking culture in music has also been challenging. I’ve learned to build genuine relationships and seek out supportive, female-centric communities. As a feminist and resilient creative, I don’t let industry expectations for women dictate my work. I stay true to my artistic vision—creating what resonates with me, my collaborators, and the audience—pushing beyond any box that people try to put women producers in.
These challenges have shaped my drive to carve out a space for myself in the industry. I’m proud to be part of a growing movement of women in production, helping to pave the way for greater representation and equality in the future.
Are there any specific sounds or genres you love experimenting with?
YIMEEKA: House & Indie – pop.
SENSEI: I love global bass, baile, Gqom, basically sounds that are heavily percussion-driven because I am attracted to the groove. For me, it’s the soul and the lifeline of a track. So you would definitely find me experimenting with these and fusing them with our traditional sounds. It’s where I find bliss.
LOC: Yes, most definitely! As a self taught producer, it took me a while to understand sounds and genres. But I’d say synthesisers and instruments like the violin, vox, flute, sax, guitars, 808s and bass are on my top of the list favourites. With genres like Drill, Trap Funk, Afrobeats, House music with a “log drum pandemic”, it’s more of watching myself “basking in relish” with the creation rather than simply experimenting.
KLEROS: I love experimenting. I’m not genre specific when I experiment, my ears are open to everything.
SASZY: Afro-fusion, I love to fuse sounds together, I’m very experimental when making music.
What’s a production tip or trick you swear by?
YIMEEKA: Adding .1 to any bpm I’m working on.
SENSEI: A wise man once said to me “No matter what level you find yourself, Always trust your ears”.
LOC: I’ve realized that sometimes all you need is a nap before you revisit that frustrating track. Also, if you don’t approach music production from a passion-driven perspective, you would most likely give up sooner than you think. It is not a walk in the park and the benefits are never handed out to you. But one thing is sure, the benefits eventually outlive your wildest dreams and expectations.
KLEROS: Rules are made to be broken. Don’t worry, put reverb on that bass VST and pan it too 😂.
SASZY: Follow your heart and ear, don’t over think.
Who are some producers that influence your sound?
YIMEEKA: Pheelz, Black Culture, Finito, Semzi, Sarz, Seyifunmi Micheal.
SENSEI LO: Over the past couple of years: Gafacci (Afro Electronic Music Legend), Artwork Sounds, Kaeji, Fred Again, Sarz, Omagoqa.
LOC: Dunnie, Magicsticks, Sarz, P.Priime.
KLEROS: Kanye West, Pharrell, Sarz.
SASZY: Sarz and Killertunes. I always go listen to their production, I get inspired by them and their journeys.
What do you think the industry can do to better support female producers?
YIMEEKA: Creating more opportunities for us to grow, learn and work. Women are coming together to create collectives and it would be lovely to see those collectives grow.
SENSEI: Mentorship. I’ve personally found this to be something that is lacking heavily in our spaces. With a lack of mentorship, there is almost no way to nurture new talents. If we go to schools and let young girls see producers who they aspire to be when they grow up, I think it would help a lot.
LOC:There are several things the industry should focus on: increasing representation and visibility, providing mentorship and networking opportunities, addressing gender bias, ensuring equal pay and career advancement, creating safe and inclusive work environments, eliminating the toxic gatekeeping culture that mostly affects female creatives and encouraging early education and access to resources. I have projects in the works that are geared towards this purpose. By promoting female talent, fostering inclusive spaces, and offering equal opportunities, the industry can empower women to thrive and contribute fully to the creative process.
KLEROS: Give opportunities, open the space to girls, take interest in the ones you find very good and unique, take the gender out of the picture.
SASZY: Give more opportunities, placements and education around women’s place in music production.
What’s next for you, any exciting projects we should look out for?
YIMEEKA: Working on an Afro house project this next quarter. Fingers crossed!
SENSEI: Lots of new music for sure. Some unusual and unexpected collaborations,and I am also working on my second EP which I hope to release by the end of the year so I would say, be very excited cos I am too!
LOC: I am currently working on some exciting projects inspired by my various music travels and experiences outside Nigeria. To my knowledge, this project focusing on music (community and healing inclusive) will be the first of its kind in Lagos or even Nigeria at large. Also, I have my upcoming EP that I’m so proud of and excited to share with the world.
KLEROS: “Just get your rice ready cos everywhere go stew!”. A couple of projects & collaborations, you’d see Kleros as more than a Producer.
SASZY: Working on a couple of projects I’m excited about but I think I’d just let the work speak for itself.
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