Getting your Trinity Audio player ready...

The songwriter, producer and media executive opens up about his experience, his quieter side and the rising star he is backing, Tiwye.

Victor Akolade Olowu, also known as Kolade Dominate, does not fit neatly into one job title. He is a songwriter, producer, artist, A&R, talent manager and media executive, and he gives each role 105%. His journey started in 2012 with his own studio. A year later, he covered Rihanna’s ‘Diamonds’.

In 2014, he released his debut single, ‘Dominate’, and followed it with ‘Dominate 2.0’ alongside Oritse Femi in 2015. ‘Olofofo’ arrived in 2016, produced by ID Cabasa.

Then he pivoted to the media space. That move did not end his creative streak. He wrote ‘Triple Threat’ for DJ Boombastic, DJ Jimmy Jatt and DJ Humility, and he curated features with T-Classic, Dotman and DJ Kaywise.

Furthermore, he built a career in broadcasting, from his days in Ibadan to his current work in station management and brand advisory. In this candid chat, Victor reflects on the state of Afrobeats, the fixes the industry needs, his experience, his private side and his plans for the next two years. On top of that, he shares why he is back in the studio and why he is backing rising talent Tiwye.

Richardine: When we crossed paths at the tail end of the pandemic, I didn’t know you were a songwriter, producer, and talent and media manager. How and when did you get into that line of work? Did you get formal schooling to sharpen your business acumen? If so, which school(s) did you attend?



Victor: Depending on what capacity I’m operating in, people tend to get different sides of me! I’ve loved music for a long time; I even ran my own studio back in 2012. After dropping a cover of Rihanna’s ‘Diamonds’ in 2013, I officially released my debut single, ‘Dominate’, in 2014.

In 2015, I teamed up with Oritsefemi (the “Musical Taliban”) for ‘Dominate 2.0’, with both tracks produced by Puffy Tee. I followed that up with ‘Olofofo’ in 2016 (produced by ID Cabasa) before ultimately deciding to dive deeper into the media space. Even after that period, I helped write, A&R, and contribute to songs for underground talents Oyinkanade, Debie Rise, Dhayo Jay to name a few.

Richardine: What are you like in each role? Do you think your personality changes depending on the role you’re in?
That is the magic of being multi-passionate and executing everything at a high level. I always know how to shift gears depending on the role.

Victor: When I’m running the show for artist listening sessions or curating events for my media platforms, you get the exact version of Kolade that the room calls for. But no matter which hat I’m wearing producer, songwriter, artist, A&R, or media executive you can always count on me to give it 105%.

Richardine: Which artists or projects have you worked on as an A&R? Did your other talents become useful during your A&R moments? When did you start to work as an A&R? What was the music industry like in Nigeria at the time? If you could, explain in one or two sentences what it was like to work with each artist.

Victor: Long before the title was common in Nigeria, I was already doing the work—relying entirely on an innate ear for music, sound, and arrangement. In 2014, I wrote ‘Triple Threat’ for industry heavyweights like DJ Boombastic, DJ Jimmy Jatt, and DJ Humility, quietly laying a foundation without needing the spotlight. Peers always wondered how my creative instincts were so precise.

That intuition paved the way for curating breakthrough tracks following my work with an MTN Project Fame star and the ‘Adura’ crooner. From crafting features with T-Classic, Dotman, and DJ Kaywise to collaborating with production and broadcast titans like ID Cabasa and DJ Neptune, my creative touch has always spoken directly to the hearts of music lovers.

Some people just have a gift for feeling the pulse of a hit and that has always been my compass. I’ve simply always been able to feel the pulse of a hit record.

Richardine: Over time, we’ve been told Tems and Burna Boy’s styles of music were not celebrated or glorified as much as their competitors in Lagos. As a creator in the industry and now a radio presenter, could you confirm if that’s true? If so, explain from the perspective of a radio professional why that would be the case. Was it publicly addressed in Lagos, or in Nigeria at large? If so, what year and where?

Victor: The appetite of the Nigerian music audience has definitely grown over the years. We were used to a specific sound until 2014 introduced the “pon-pon” era, paving the way for artists like Mr Eazi, Dotman, Tekno, and others, and giving Davido a major global boost.

I remember talking with Tems back in 2020 when she was already popping with ‘Try Me’ she told me right then how ‘Essence’ was going to change the game.

As listener exposure grew, so did their desire for fresh sounds. Look at how Burna Boy shook things up from day one with ‘Like to Party’ (and ‘Celebrate’, which is easily one of my favorite songs ever). That growing exposure is what reshaped fan tastes and defined the artists we celebrate across different eras.

Richardine: Do you feel like a different person when you’re not at work? If so, what kind of guy are you in your private moments?

Victor: Not a different person, but certainly a quieter version of myself! On-air and in executive meetings, my energy must be high and deliberate. But off the clock, I value simplicity. In my personal time, I’m laid-back, introverted in spurts, and big on genuine relationships. I love taking a step back from the hustle, unwinding with good music or family, and just being present without having to manage a schedule or lead a campaign.

Richardine: Are there any new artists in Africa (or otherwise) on your radar you think your expertise could help? Are you in touch with the artist?

Victor: One artist I’m particularly excited about right now is Tiwye. She represents the fresh wave of African talent, and I see immense potential in what she brings to the table.

Through my work in media advisory and talent management, my focus is on giving rising talents like Tiwye the strategic backing they need from rollout campaigns to commercial positioning. We are very much in touch and actively collaborating to ensure her sound hits the right audiences effectively.

Richardine: With all these notches under your belt, what’s next on your list of achievements? What could you see yourself doing in the next two years?

Victor: I’m back in the studio working on putting out my own project! After spending so much time behind the scenes curating music, managing artists, and shaping broadcast strategy, it feels great to tap back into my own creative expression. I will be putting out Tiwye’s project as well.

Looking ahead over the next two years, it’s all about growth and expansion. Beyond releasing my new project, I want to keep pushing boundaries in media management and advisory scaling our reach, elevating new talent, and solidifying my executive leadership in the African entertainment and broadcast space.

---

The songwriter and co-executive producer behind DJ Neptune’s ‘Greatness IV’

Richardine: I know your work with DJ Neptune on the ‘Greatness’ album series. Did you work on the others? How did you select the artists? Did you get everyone you wanted?

Victor: My journey with the ‘Greatness’ series started before I received formal credit. On the ‘Greatness’ series, I have handled marketing and promotions, specifically on ‘2.0’. I did not take formal credit for that work, but it gave me an opportunity to contribute to the project from the commercial side.

With ‘Greatness III’, my involvement developed further; I was co-executive producer. I also handled marketing, promotions and A&R, and then on ‘Greatness IV’, I served as co-executive producer again and also served as a composer on all fourteen songs on ‘Greatness IV’. That is particularly significant to me because songwriting has always been part of who I am, long before my work in media management became more prominent.

I started my own studio in 2012, released my own music and worked with artists and producers in different creative capacities. So, when I approach a project like ‘Greatness IV’, I am not looking at it only as an executive. I am also listening as a songwriter and a creative. Like end to end!

When selecting artists, the question is not simply who is popular. It is about identifying the right voice, personality and musical identity for a particular record. Take ‘Amin’, featuring Reehaa and Kabusa Oriental Choir, and ‘Come with Me’, featuring Moelogo. They offer very different musical experiences. The objective is to create collaborations that bring something distinctive to the project.

Of course, there are always artists you would love to work with, but availability, timing and creative considerations can affect those plans. What matters is that the final choices serve the music and that every artist has a reason to be on the project.

Richardine: Which collaborations on ‘Greatness IV’ stand out to you, and what made those artists the right choices?
I would look at records such as ‘Amin’ with Reeha and Kabusa Choir, ‘Come With Me’ with Moelogo, ‘Running’ with Guchi and ‘Never Settle For Less’ with Hotkeed. They represent different approaches to melody, performance and storytelling.

Victor: Moelogo has a strong melodic identity, which makes him a compelling fit for a record built around that kind of expression. Guchi brings her own vocal personality to ‘Running’, whilst ‘Never Settle For Less’ gives Hotkeed an opportunity to connect with listeners through a record whose title and premise speak to ambition and perseverance. Now Reeha! That’s soul.

As a composer, you must understand the relationship between the song and the artist. A composition might have a strong idea, but the delivery determines how that idea reaches the listener. You want the artist to interpret the song in a way that feels natural to them whilst still communicating what makes the record special.

I also enjoy the contrast between records like ‘Dance No Dance’ with Swayvee and ‘Jeje Laye’ with Portable. Those collaborations occupy different spaces, and that is part of the appeal of a project like this.

For me, the most rewarding collaborations happen when an artist brings something to a composition that makes the finished record more interesting than the original idea.

Richardine: When creating the album, did you have to force or rush anything? Were there any challenges?
One of the biggest challenges with a project involving multiple artists and creative contributors is ensuring that the individual records work whilst maintaining the quality of the entire album.

Victor: As a songwriter, you can become attached to an idea because you know how much work went into it. But you must remain objective. Sometimes an arrangement needs to change, a musical idea needs more development, or you discover that a different direction would serve the song better.

The same applies to production. A good instrumental is not necessarily a finished record. The composition, arrangement, performance and overall execution have to come together.

Then there is the responsibility of coordinating the different creative and commercial elements. As co-executive producer, I had to consider the broader project, not just the individual songs.

My approach is that deadlines and structure are necessary, but they should not compromise the music. You have to know when to push a process forward and when to allow a creative idea the attention it needs.

Ultimately, the goal is to make records that stand on their own and an album that feels intentional from beginning to end.

Richardine: ‘Greatness IV’ has fourteen songs and runs for approximately thirty-six minutes. Was that intentional?
I believe every song on an album should earn its place.

Victor: As a composer, I understand the temptation to include everything you have worked on. But the listener is experiencing the finished product, not the hours spent creating it. Every track needs to offer something that justifies its presence. With fourteen songs, you have room to explore different moods, artists and musical directions without unnecessarily extending the listening experience.

What matters to me is replay value. Does a song make you want to hear it again? Does another record catch your attention on the second listen? Does the album give you different experiences depending on your mood?

I would rather have a concise project with strong records than a longer album that loses its momentum. The number of songs is not the achievement in itself; the quality of the listening experience is.

Richardine: The album moves between different styles. Does each artist bring something different out of DJ Neptune? What makes the musical collage work?

Victor: Absolutely. I think the range is one of the strengths of ‘Greatness IV’.

‘Dance No Dance’ has a different energy from ‘Come With Me’. ‘Amin’ opens the album with a distinctive combination of Reehaa and Kabusa Oriental Choir, whilst ‘Taliban’, featuring Kojo Blak, brings a cross-border dimension to the project. ‘Street’, featuring Gbolar Mighty, offers another perspective rooted in urban culture.

As a song writer or composer, you have to understand that different songs demand different creative decisions. Some records need space for a vocal performance to breathe. Others depend on rhythm, repetition or an infectious hook. You cannot approach every composition in the same way.

The production and arrangement must respect what each record is trying to achieve.
I think DJ Neptune’s experience as a DJ helps us recognise different musical environments and how audiences respond to them. But the success of a collaborative album also depends on the creative work that goes into making each song distinctive.

We are not trying to make every artist sound like DJ Neptune. We are bringing different musical identities together under one project, and the cohesion comes from the quality of the curation and the intention behind those choices.

Richardine: Is there a particular story or message listeners should take away from ‘Greatness IV’?

Victor: I would not describe it as a concept album with one continuous storyline. I see it as a collection of musical experiences that reflect different aspects of life, ambition, relationships and enjoyment.

‘Never Settle For Less’ speaks to a mindset of ambition and self-belief. ‘Amin’ brings a different kind of opening, whilst ‘Good Mood Good Vibe’ offers a more celebratory experience. Those different moods are part of what makes the project interesting.

For me, the broader idea of greatness is also about recognising potential. It is not exclusively about established names or commercial success. It is about creating opportunities for different voices to contribute something meaningful.

That is one reason I value collaborative projects. They allow audiences to encounter artists they might not ordinarily discover and hear those artists in different musical contexts.

I want people to enjoy the records first. If they also come away thinking about ambition, perseverance, love or the value of collaboration, then the music has created room for that connection.

Richardine: The quality of the music is impressive. Who handled production and engineering? Would you consider the album timeless?

Victor: The album was a collaborative production effort involving DJ Neptune, myself and a team of talented producers, including Timbun, NYRP, Ugly x Tough and Yo X.

As co-executive producer, and a composer on the album across the fourteen songs. Those are two distinct responsibilities, and it was really tasking but I enjoyed every bit of it.

Composition is about the musical and creative foundations of a song. Executive production involves a broader perspective on the project and the decisions required to bring the album together. They can inform one another, but they are not interchangeable.

My background as a songwriter, producer and recording artist informs how I approach the music. I pay attention to the central idea, melody, arrangement and how the different elements contribute to the identity of each record.

As for timelessness, I believe the strongest records have qualities that allow them to survive beyond the excitement of a new release. Memorable melodies, distinctive performances, meaningful writing and thoughtful arrangements can all contribute to longevity.
But time ultimately decides whether a record is timeless. Our responsibility is to make music that gives itself the best possible chance.

Richardine: I enjoyed ‘Bienvenue’ with Ruger on ‘Greatness III’. Was that one of the singles? How did you balance street records, radio-friendly songs and deeper cuts?

Victor: Yes, ‘Bienvenue’ was released as a single ahead of ‘Greatness III’ and later appeared on the album. My involvement in that record went beyond promotion. I contributed creatively to the song and designed the rollout and release plan, including the marketing, promotions and wider campaign.

That is an important example of how I approach music. I am interested in the composition itself, but I also understand what happens after the record is made. You need to know how to position the music, build awareness around it and give it the best opportunity to reach its intended audience.

My work on ‘Bienvenue’ brought those two sides together: the creative contribution and the commercial strategy.

On ‘Greatness IV’, that same understanding informs how I think about the relationship between the songs and their audiences. A record such as ‘Jeje Laye’ with Portable occupies a different space from ‘Come With Me’ with Moelogo or ‘Never Settle For Less’ with Hotkeed.

Some songs connect through immediate energy. Others draw listeners in through melody, storytelling or emotional resonance. A strong album needs room for these different experiences.

My broadcasting background also gives me an appreciation of accessibility, but I do not believe every song should be created to fit a radio format. The composition must stand on its own. The strategy should help the right audience discover the music without stripping it of its identity.

Richardine: I cannot hear one obvious signature DJ Neptune sound on the album. What is your take on that?

Victor: I understand that observation, but I think a signature can be more than a recurring drum pattern or a particular production style.

A collaborative album led by a DJ is different from an album built around one singer’s voice. The appeal partly lies in the contrasts between the artists and the musical directions they bring.

As a composer, I believe every song deserves an approach that serves its identity. You would not necessarily treat ‘Amin’ in the same way as ‘Dance No Dance’, because the records have different creative requirements.

The question is whether the choices are intentional and whether the individual songs work.

I would rather have a collection of distinctive records than force everything into one template simply to make the album sound uniform.
For me, the signature is in the quality of the selection, the combinations and the overall experience.

Richardine: Does ‘Greatness IV’ elevate DJ Neptune’s brand as a top-tier DJ and curator in Africa?

Victor: I believe it strengthens that position because it demonstrates that DJ Neptune’s contribution goes beyond playing records. He has built a platform around bringing artists together and creating opportunities for different sounds to reach audiences. Especially in Africa.

But curation is only one part of the process. We have to think it first, imagine what the sound can be come, ensure the collaborations produce good music, and that is where my songwriting, the artistes team composition, other producer’s production and our creative judgement become important.

My experience on ‘Greatness IV’ as a composer across all fourteen songs and as co-executive producer gave me the opportunity to contribute from both the creative and project-wide perspectives.

I have always been interested in how those disciplines connect. My work as an artist, songwriter, producer and A&R informs how I approach the music, whilst my experience in broadcasting and marketing informs how I think about audiences and the commercial life of a record.

For me, the real achievement of the ‘Greatness’ series is the opportunity to keep creating meaningful collaborations, introducing audiences to different artists and exploring the possibilities of African music.

A great curator does more than assemble popular names. They help create the conditions for great music to happen. That is what I believe DJ Neptune continues to demonstrate, and it is what makes the series worth building on.

This is what I have done for every talent I have worked with.

---