Victor Akolade Olowu on Afrobeats, industry fixes and why he is back in the studio (Interview)
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The songwriter, producer and media executive opens up about his non-negotiables, 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 non-negotiables, 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: As a Nigerian person who works in the radio space, I imagine you’ve mostly worked on Afrobeats as a musician. Have you worked in genres outside the Afrobeats umbrella? How do you feel about Afrobeats today? What’s the number one issue linked to the music you would like to see change? What’s the fix?
Victor: Afrobeats is currently going through a fascinating, necessary evolution. On one hand, it has conquered global stages, turning our artists into international icons and putting African pop culture squarely at the center of the world. On the other hand, the genre is experiencing a vital reset. The era of mindless over-saturation and inflated hype is giving way to a deeper demand for substance, sonic risk-taking, and authentic storytelling. It’s no longer just about dropping a quick club banger; the culture is maturing, and the artists who will last are the ones building real, organic connections with listeners.
For all the billions of streams and global stadium tours, our industry has historically relied too heavily on external label structures and a top-heavy system where money flows into the hands of a few while the local market struggles under macroeconomic pressure. When foreign investment shifts or tightens, the cracks in our local ecosystem show. We export our greatest cultural asset to the world, yet the local infrastructure publishing royalty’s collection, proper data tracking, local distribution networks, and robust monetization at home remains weak and I think the solution requires structural reform: enforcing local copyright systems and CMOs so all creators collect royalties, building indigenous African investment vehicles to fund catalog monetization instead of relying solely on foreign labels, and establishing a viable, localized touring economy tailored to our economic realities.
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: Has your daily role as an on-air personality or presenter changed how you interact with people in the business? What is the craziest request you’ve received on-air? What’s the wildest request you’ve received from someone in the business? Are you strictly business when you’re dealing with other professionals in this space? If so, why do you think that’s important?
Victor: On interactions and being “strictly business”: Context matters. I was once caught off guard when an industry friend mentioned she didn’t think we’d get along because I came off as purely business minded. I pride myself on nurturing genuine relationships. I bring high standards and resourcefulness to the table, but I always balance professionalism with warmth.
On the craziest/wildest request: During my broadcasting days in Ibadan, someone once reached out mid-show proposing a full romantic relationship!
Richardine: What are some of your non-negotiables as a business professional?
Victor: Operating across broadcast management, brand advisory, talent management, and on-air hosting means my standards must be crystal clear. My core non-negotiables are integrity, excellence, and mutual respect.
In media advisory and station management, transparency and strategic value are non-negotiable partners and clients must trust that every campaign or operational strategy is built to deliver real impact.
On the talent management and creative side, excellence in execution is key; if my team or I put our name on a project, album rollout, or broadcast, it must meet the highest industry standard. Finally, while I deeply value authentic relationships across the business, clear boundaries, professional accountability, and mutual respect are essential to making those relationships thrive.
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.
