Producer tags—those pithy audio signatures layered into songs—serve as an essential tool for identity in an industry that is still slow to acknowledge their contributions.
By Abioye Damilare Samson
In 2021, Sarz—one of Afro-Pop’s most illustrious sonic architects—sparked conversations when he tweeted about retiring his now-famous tag, “Realllyyy”, from his productions. It was a move that might have seemed risky for most, but not for Sarz.
His beats have a voice of their own, thanks to the way he fuses unpredictable melodies with crisp, intricate percussion, creating soundscapes that have defined the fabric of modern Afrobeats. For someone whose discography is littered with genre-defining records, a tag feels more like an accessory than a necessity.
But not every producer has the audacity to pull that off. Sarz exists in a rarefied air—one where his name alone commands reverence. For most producers, though, the absence of a tag can mean the difference between getting recognised or staying in the shadows. Producer tags—those pithy audio signatures layered into songs—serve as an essential tool for identity in an industry that is still slow to acknowledge their contributions.
Historically, producers have always shaped and propound the sonic palettes that inspire and propel popular culture, particularly in Afrobeats. They craft the frameworks on which artistes build and lay the groundwork for which their vocals and lyrics feed into.
Yet, this vital role has often gone underappreciated, leading producers to rely on their monikers to bridge the gap between their work and the recognition they deserve.
Much like Sarz, there are some producers whose tags have transcended the functional and become iconic too. Nobody has to wonder who crafted a beat when “It’s Don Jazzy Again” rings out—it’s as much a part of the song’s experience as the lyrics themselves. The same goes for Young Jonn’s “It’s Young Jonn, the wicked producer” tag.
But what happens when the producer doesn’t imprint their name on a tag? How do audiences connect the dots between the genius behind the sound and the music they adore?
This piece explores some of the Afrobeats producers and their signature tags.
Magicsticks
The year 2022 will forever be marked as the one where Asake catapulted into Afro-Pop’s mainstream consciousness. Central to this meteoric rise was a sound that seamlessly melded the grittiness of Fuji with the effervescence of Amapiano—a template carved out by the brilliant Magisticks.
For a producer whose work had primarily existed in the periphery of Afrobeats’ spotlight, 2022 was his definitive arrival. With tracks like “Sungba”, “Palazzo”, and “Peace Be Unto You”, Magisticks engineered a sound that blurs the lines between street-savvy anthems and polished pop cuts.
But it wasn’t just the beats that captured listeners; it was the tag, “Tune in to the king of sounds and blues”, that opened many of these records. The moniker—delivered in a calm yet commanding male voice—often placed at the start of tracks became a kind of heads-up for listeners to brace themselves for an exciting sonic experience.
Ozedikus
Mavin Records, without a doubt, the biggest music powerhouse in Africa, has birthed a whole legion of talented artistes, and most especially producers like Ozedikus, whose mastery of sound and music production is futuristic and unmatched.
While he’s linked up with several artistes, his collaborations with Rema have been particularly distinct and transformative.
His tag, “Ozedikuz Nwanne”, pronounced in that distinct Eastern Nigerian tone, is the signature that kicks off every track he touches. You’ll find it setting the pace in hits like Rema’s 2019’s “Dumebi”, Oxlade’s 2022 “Ku Lo Sa”, and countless others.
Andrevibez
Perhaps it’s only fitting to lean on the age-old adage, “A lion cannot give birth to a goat”, when describing Andrevibez, the son of the legendary Sir Victor Uwaifo. The producer has carved out his lane in Afro-pop, carrying his father’s musical genius into a new era.
His production credits include an array of smash hit songs, but none can be compared to Rema’s chart-smashing “Calm Down,” a track that has broken records and solidified his place in global conversations. The moment you hear the signature tag, “Vibesss,” on a track, you know it’s laced with Andrevibez’s distinct touch.
Pheelz
To borrow Davido’s now-popular phrase, Pheelz is truly an ‘old cat’ among music producers—someone who’s been in the game for a long time and knows his craft inside out. He’s produced countless jams, and even bagged several awards before he transitioned fully into a singing artiste.
In the early days of his career, Pheelz’s tag was “Pheelz, Mr. Producer”, straightforward intro that told you exactly who he was. But as time went on, it evolved into “Ridimakulayo”. However, as expected, fans hilariously rebranded it to “Rhythm and cool and young” until Pheelz himself had to step in with a tweet to set the record straight.
Telz
Telz’s rise is one of those stories that feels almost inevitable. His handprints on Burna Boy’s Twice As Tall album in 2020—particularly on tracks like “Real Life” and “Wetin Dey Sup”—are etched in the Afro-Fusion’s history. These contributions locked him in as one of the genre’s most influential sonic architects.
As people started to discover and praise Telz’s craft during the height of his breakthrough in 2020, his moniker, “Funkula”, was misinterpreted. Some listeners misheard it and twisted it into “Fun-kilker” or worse, “Porn Killer”. To end the misinterpretation, Telz stepped in and corrected netizens who call his moniker “Funkula” differently.
P.Priime
P.Priime is one of Afro-Pop’s most consistent hitmakers. He is a protégé of Sarz and an alumnus of the revered Sarz Academy, whose relentless work ethic and ear for crafting bangers set him apart.
Since stepping onto the scene, he’s curated an enviable discography: from Wizkid’s sultry grooves to Olamide’s streetwise anthems, Fireboy DML’s smooth melodies to Rema’s hyperactive bursts of energy, P.Priime’s fingerprints are on them. So when you hear his tag, “P.Priime!”—sometimes tucked at the intro and other times in the outro—you know you’re in for a smooth sonic ride.
Kukbeatz
In 2021, Ruger burst onto the scene with Second Wave, a debut EP that announced his arrival with the precision of a well-aimed shot. The project’s sound—a deft blend of Afro-Pop’s infectious bounce and the sun-drenched rhythm of Caribbean dancehall—showcased Ruger’s versatility and Kukubeatz’s understated genius.
Yet, while Ruger has become a recognisable figure, the architect of his breakout sound, Kukbeatz, remains largely unknown to the wider audience. One thing, however, has refused to stay in the shadows: his production tag. Delivered by a female voice with a playful energy, “Kukuruku”—an onomatopoeic imitation of a chicken’s crow—has become an unmistakable hallmark of his work.
Killertunes
Killertunes is a name that might not immediately strike a chord with the average listener, but his work speaks volumes. His catalogue is a treasure trove of hits—Kizz Daniel’s 2023’s “Twe Twe”, Joeboy’s 2019 record, “Beginning”, Wizkid’s 2017 track, “Manya” in collaboration with MUT4Y, and countless others that have soundtracked unforgettable moments on the dancefloor.
While many may not recognise the face behind these pulsating records, his signature tag, “Shabalistic”, is a stamp of quality that marks every track as a certified hit.
Niphkeys
Niphkeys has a way of making the simplest of beats feel like the pulse of the streets. His mastery of rhythm and percussion gives life to the sound of Street-Hop, particularly with the chemistry he shares with Zinoleessky and the late Mohbad.
His tag—that calm, hypnotic voice of a lady pronouncing “Niphkeys” in the intro—is one of the most soothing tags by a producer.
Blaisebeatz
Marcel Akunwata, better known as Blaisebeatz, is one of the leading music producers of Afro-pop’s current soundscape, carving out his lane with a distinct production style that has become a staple in the African music conversation.
His instantly recognisable tag, “Obah”—often interpreted as “Ubah”—rings through some of the genre’s most celebrated records, from Adekunle Gold’s 2020 genre-blurring “Something Different” to Chris Brown’s 2022 sultry “Call Me Everyday” featuring Wizkid.
Blaisebeatz’s synergy with Adekunle Gold, in particular, has yielded a string of unforgettable records, underscoring his knack for crafting lush, evocative soundtracks that define moments.
Abioye Damilare is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle