“I’m overjoyed that my debut film addresses a significant social issue. It gives me a deep sense of fulfillment.”– Ogranya.
By Hope Ibiale
When I caught up with Ogranya recently for an interview, he had just returned from his ‘With Open Arms’ tour in Toronto, prior to attending the premiere of Afolabi Olalekan’s Freedom Way at the 2024 Toronto International Film Festival (TIFF). While this is his debut role, he admitted that he had been contemplating venturing into film and television for a while
With his role as a co-founder of a tech company in Nigeria facing police brutality, the “Ecstasy” crooner joins artists like Reminisce (King of Boys), Phyno (Lionheart), Banky W (The Wedding Party), and many others who have starred in major Nollywood films. Similar to his foray into acting, his music career also required training, as he had been preparing since childhood.
Ogranya, born Ogranya Jable Ossai and the second eldest of four siblings, began writing songs when he was ten years old. The Port Harcourt-born singer graduated with a degree in Architecture from the Kwame Nkrumah University of Science and Technology (KNUST). He initially pursued music as a side job before deciding to quit his day job and focus entirely on his musical career.
In 2019, Ogranya released his debut EP, Eden Evermore, a project that showcased his songwriting abilities and established his presence in the music industry.
The following year, he made an unprecedented decision to release music every week. This initiative birthed Project 52, a project that saw him collaborate with multiple music producers and helped him build a solid community.
In this exclusive interview with Afrocritik, Ogranya discusses his debut role in Freedom Way, why he considers Eden Evermore his most fulfilling project, the process behind creating Project 52, and what to expect from his future projects.
Congratulations on your acting debut in Freedom Way. The film recently premiered at the 2024 Toronto International Film Festival, which is a huge achievement for any actor, especially for a debut. How did it feel to see your first film showcased on such a prestigious stage? What was your process in preparing for the role? Were you nervous about not meeting the expectations of the director and producer?
Thank you very much. It didn’t feel real—it was a huge shock for me and everyone who was a part of the film. Blessing Uzzi—the producer—mentioned that premiering the film at the festival wasn’t originally in her plans. Someone suggested submitting it, but she wasn’t too keen on the idea and eventually sent it in at the last minute.
When we heard the news, everyone was overwhelmed and taken aback as I was. It was especially surreal since this is my first film, so yes, it was truly a big surprise.
Yes, I was worried and it was a scary thing for me. Fortunately, the producer connected me with an experienced actress who guided me through the process. We had several sessions, which were essentially acting lessons, and they really helped me get comfortable with the character, gain a deeper understanding of the role, and mentally prepare for what to expect on set. Working with an acting coach helped me significantly prepare for the role.
In the film, you portray a start-up co-founder who experiences police brutality. Do you believe it’s important for various art forms, such as film, music, and visual art, to reflect and engage with real-world social issues?
I’m overjoyed that my debut film addresses a significant social issue. It gives me a deep sense of fulfillment because, as an artist, there’s no greater achievement than capturing the essence of the times and reflecting on what’s happening in society. It’s not an easy thing to do especially in this period where people resort to media and entertainment to distract them from their realities.
Being able to do something in a way that is enjoyable, educational, and reflective of reality is a blessing. It is rewarding to see something I believe in done properly, and I say done properly because it often gets done, but it comes off in a certain way. To be part of a project where it’s done well and with taste is truly a beautiful experience.
With songs like “Power”, where you addressed the issue of police brutality, how challenging was it to convey this same theme through film? Were you apprehensive about tackling such a prevalent and sensitive issue in Nigeria on screen, especially considering its social and political implications?
It wasn’t necessarily difficult to portray those scenes because we are used to it, and unfortunately, we are sensitised. My first encounter with police brutality happened when I was around ten years old. I wasn’t directly impacted because I was in the car with my mother and she was the one who directly suffered. She was physically abused by a military officer, who broke her arm.
Police brutality is an issue that I believe every Nigerian has experienced, either directly or indirectly, so portraying it wasn’t particularly challenging—it was almost a walk in the park. The beauty of how the story was told in the film is that it was done artistically. We weren’t pointing fingers at any single individual for the hardships we face, but rather showcasing the complexities of the country. For example, the film depicted both good and bad officers, reflecting the reality of Nigeria.
We tried to portray the country for what it truly is, and I know for a fact that if you walk into an establishment or an institution in Nigeria the reality showcased in the film closely mirrors what’s happening in the country. The system is corrupt. So I wasn’t apprehensive to take the role. It was also a conversation we had with the filmmakers, but we weren’t afraid.
With your debut film hitting the big screen, do you see this as the beginning of a larger journey in acting, or are you also exploring other aspects of the film industry, such as directing, producing, or screenwriting? What are your other interests?
I have been flirting with the idea of acting for a while. I didn’t take any active steps but internally, I think I just prepared. However, after being involved in Freedom Way and producing a few content videos of my own, the idea of creating visuals and being part of them has begun to entice me more.
I’m currently working towards becoming more involved in film and television. Directing and producing films is a much larger step, and I’d like to be more familiar with the art form before venturing into those. My other interests besides music and film are architecture, which I practiced before focusing on music full-time.
Although I am not actively practising at the moment, I am still in contact with my colleagues and friends who are in the field. I am trying my best to keep that side of me because I am sure that there will come a time when I am going to pursue it again.
Along with “Freedom Way” premiering at TIFF, you also released a new record, “With Open Arms”. What inspired the record? What message were you hoping to convey to your audience through this release?
“With Open Arms” was inspired by my need to embrace my journey—accepting myself, who I am, who I’ve been, and who I’ve become. The song was produced by Cheso, the artiste who was featured on “Power”.
Interestingly, the instrumental of the song was already titled “With Open Arms” and when I was listening to it, that message resonated with me. Ultimately, the song became an act of embracing my journey so far, which inspired the entire record.
Recently, you embarked on the “With Open Arms” tour in Lagos, Port Harcourt, and Toronto. What do you like about performing live? Do you think the live performance culture in Nigeria is growing? What do you think needs to be put in place to ensure smooth live performances in the music industry?
After songwriting, performing live is the most exciting and sweetest part of making music. First of all, you get to connect with a real audience who genuinely love your music, and when they sing the words back to you, that creates an irreplaceable experience—one that only live performance can provide.
Secondly, much like film, it’s a different medium of expression. Unlike the controlled environment of a studio where everything is carefully curated, live performance introduces elements that are both within your control and beyond it. There is a lot of control there but when you are performing live, there are a lot more elements that you have to control as well as surrender to. I don’t think I can express the feeling, it’s just very transcendental, it’s a different spirit.
The live performance culture in Nigeria is growing. I was reflecting on this just a few days ago when my friend introduced me to an artiste named Abigail. It was refreshing to see the vibrant community she has built, filled with musicians who create their music.
While it’s encouraging to witness this growth in live performance, it also brings us back to the issue of infrastructure. There is a pressing need for more locations and spaces dedicated to live performances. For instance, Abuja should be one of the cities with more accessible venues for such events.
I believe infrastructure should be one of the things we should be getting from the growth of Afrobeats. We need to establish a solid framework for the Nigerian music industry. For instance, touring in Nigeria for the average musician shouldn’t be a problem.
We ought to have world-class venues in each geopolitical zone where musicians can plan their tours and have access to a proper stage. I am worried that if we miss this window, it might take some time to get such an opportunity again.
You studied architecture and practiced in the field for five years before transitioning into a professional music career. What inspired this move to music? Were your parents supportive? Is there any element of architecture you apply to your music?
I believe my parents had always seen it coming; they just wanted me to have security in education. My father is a musician and a professor, and he hoped I would follow his approach to building a career. However, I feel that my passion for music exceeds his at this stage in my life. Being in my youth, I am more fervent about it, while he is in his 70s and understandably he can’t be as passionate about music anymore.
Although my parents have been supportive, they didn’t take the transition too well when it happened, even though they expected it. The transition happened properly in 2019; by then, I had been working for a while, and I was in my 20s, so they couldn’t stop me from pursuing music. They could only give their blessing and tell me what they wanted for me.
Architecture is fundamentally about design—crafting spaces that enhance people’s well-being. One that maximises the quality of life people have and I think I have replicated that in music. In music, I aim to design songs that foster connection. I want listeners to feel at home in the sounds, to experience a sense of familiarity and warmth rather than alienation.
Just as in architecture, where the intent is to create a safe and inviting space, my music aspires to do the same for listeners. When they engage with my songs, I want them to resonate with their experiences, making them feel comfortable and connected. There’s a unique architecture in constructing a song, just as there is in building a physical space.
Your father gave you your first songwriting lessons and was a musician. Do you feel that this early exposure sparked your initial love for music, or were there other experiences that contributed to shaping your passion?
When I was six years old, my father formed a family band. Although we never recorded any music, we wrote two or three gospel songs together, but we never performed outside our home. I was the lead singer, my older brother played the guitar, and my sister played the tambourine.
Apart from that, while writing a song with my father, you are learning to write music; then you are also learning from the infinite collection of music he listened to. While writing songs with my father, I learned not only how to compose music but also drew inspiration from the vast array of music he listened to.
Additionally, I also owe my passion for music to my mother, as we held devotions every morning that included dedicated time for singing. Engaging in this routine from childhood instilled a love for singing in me. I feel like these scenarios are where the passion for music was really birthed.
You grew up in Rivers State and had an education in Ghana. How has experiencing different cultures influenced your music? Which artistes have influenced your music?
Experiencing different cultures has taught me that what you know is only a fraction of what exists. Growing up in Port Harcourt, I fell in love with the music of Duncan Mighty and many others. When I moved to Ghana, listening to Sarkodie and other artistes introduced me to new ways of self-expression.
These diverse cultures have influenced my music and broadened my artistic palette, deepening my appreciation for various sounds. Some of the artists who inspire my music include Elvis Presley, Frank Sinatra, The Beatles, Phil Collins, Michael Jackson, Justin Timberlake, Chloe Bailey, Passenger, and many more.
Your last project, “Festival of the Sun”, was released in 2022. On the 7-track project, you explored several genres like Amapiano. What pushed you to explore different genres on the project? Were you scared that your primary listeners who were used to a certain kind of music from you wouldn’t connect to the project?
I was in a very experimental phase when I made Festival of the Sun. It was on the back of Project 52, during which I released a significant amount of music. Throughout that process, I was trying out different things. I collaborated with several producers I had never worked with before so Festival of the Sun was the product of all those collaborations.
The different sounds in the project were my way of finding new ways of self-expression. It felt like doing what I was known for would be very limiting and I don’t think you can grow if you keep doing the same style or sound. Honestly, I did worry about not connecting with listeners and it did weigh on my mind. But what helps me when these conversations come up in my mind is that I am doing it first for myself, the audience is secondary.
Speaking of doing something different, In 2021, you released a song every week, which led to the release of Project 52; this was no easy feat. What prompted this decision? How did you stay motivated enough to release a song every week?
It’s an idea that I had flirted with before but I didn’t see how feasible it could be. Before I met my manager, there was a video where I was talking about how I would release a song every week if I had a way. I am an obsessive singer and songwriter. I obsessively make music, and at that moment, I didn’t think I had released many songs. Fast forward to the end of 2020, when I had just moved to Ghana. There, I met my manager, who while we were planning for the year, subtly pushed the idea of releasing a song every week.
The process was hectic, as creating music in itself is a hectic process. It involves coordinating with graphic artists, digital service providers (DSPs), and music publishers, while also managing contracts with producers and everyone else involved. It can feel like a logistical nightmare.
My manager threw the question at me a few times and we bantered about it before we agreed to do it. The project required a lot of effort, especially in ensuring the songs were ready on time and collaborating with various DSPs and producers. We might do something like Project 52 again, as it makes music fun.
The beauty of this endeavour lies in the fact that once you announce your intentions, you capture the attention of those who support you. Project 52 is not something that has been done in this part of the world before, so when you declare your commitment to something as daring as that, people start talking about it.
This creates a sense of challenge, as listeners are eager to see if you will follow through, which in turn fuels your motivation. That aside, there is your followership and listenership that love your music; for them, it’s not merely about taking on a challenge. They are simply excited to receive new songs from you each week.
When you see the joy that the music brings to people, you don’t think about how hectic the process is. Instead, you become more concerned about how upset the listeners would be when you don’t release a song that week. It often feels like work, but there is joy in it, and that joy serves as your motivation.
When the project ended at the end of December, and January 2022 came, I wasn’t really singing; I felt sad that I wasn’t releasing music; it stressed me out, and it nearly killed me, but the joy of doing Project 52 was immeasurable, you can’t quantify it.
When I listen to your music, it sounds very poetic, emotive, and reflective. Could you share how you achieve this unique sound? Walk me through your creative process when making a new song. Where does Ogranya start?
To me, music is poetry—it’s the only way I know it. This is how I was taught and how I understand it. I gravitate towards genres like Soul and R&B, but I also appreciate Rap because it’s advanced poetry; it has taught me a lot about writing.
Music should captivate the listener; the words and melodies have to connect. My goal is for every song to create a genuine connection, even when the stories I tell are not directly based on my experiences or those of someone I know. I actively try to make my songs as captivating as possible, and I believe there is no other way to do that than to use words in a way that draws the listener in.
The record, “Brenda”, was actually my experience. I wrote the song in 2022, but the experience in itself happened 10 years earlier. I never knew I could write about that experience until one day, while I was listening to an instrumental, words just started coming and I sat down to write the song properly. As a songwriter, you need to do something extra, it’s not just singing anymore, you need to be more deliberate. It’s not just about the production; it’s about the words.
I have realised that I barely write in the studio. Instead, I tend to write while engaged in my daily activities, often without consciously thinking about music. When I do sit down to write, I like to write in a quiet room or silence, preferably in the dead of the night or when there is no activity around me. I typically record in the studio only after I’ve completed a song, so you’ll mostly find me there when I’m ready to compose, record, and arrange it.
When you find me in the studio, I’d have played the instrumental first. I break down everything into segments, adding or redoing certain parts as needed, and I’ll ask for the opinion of the person who is in the studio with me.
The recording process is not different from the writing process; I rarely write in the studio. When I get to the studio, the recording process is more collaborative especially with others around, because I believe music is collaborative in its entirety. However, I like to have my part laid out first before I get to the studio.
Many artistes have shared that they find joy in creating music because it allows them to express their experiences, emotions, and observations from their daily lives and surroundings. For you, what aspects of making music does Ogranya find most fulfilling?
It’s definitely songwriting. I recently had a conversation with a friend of mine where I was struggling to articulate what I was feeling and he suggested that I write it in a song. Being able to write songs is a very freeing process; there’s nothing quite like the ability to communicate your emotions. You just feel better when you can express your thoughts freely. It’s the most exciting part of making music.
In a tweet, you talked about how appreciative you are of fans who recommend your songs to their friends. To me, this means you have a strong community behind you. Over the years, what strategies have you used to build a supportive community? What’s one thing you would recommend to any artiste looking to build a community?
I think ‘strategy’ is too strong a term when, in truth, it’s just really human connection. This reminds me of what I mentioned about performing live—it’s a primary tool that the internet provides.
I have been releasing music since 2013, and in every release, there is a new person you find yourself interacting with and the person is telling you how your song has impacted them. It’s a blessing; if you listen to my music and discuss it online, I feel a connection with you; I remember our interactions and appreciate your feedback. I constantly interact with people that share my music online and we talk about it.
So. I make sure I connect with people and respond to people’s messages. Project 52 in itself was for listeners; it was mostly just about interacting with them and having them in mind, which in turn motivates me to do more. Even during my shows, I take the time to welcome everyone before the event begins, and after the performance, I love to hang out and connect.
Honestly, I believe that everything begins with the music. The foundation of my songwriting and music is to connect; I just want to make songs that resonate with people. I would encourage artistes to make music that reflects their true selves, as that is the foundation of making a connection with the listeners, which ultimately fosters a sense of community.
When someone can see themselves in a song, they are more likely to share it. If they love and relate to it, they will spread the word. In addition to creating music that connects, artistes should also engage with their audience.
You recently described your project, Eden Evermore, as your most fulfilling project as a singer and songwriter. Why do you think so? Do you think you would create a project like it?
In terms of theme, songwriting, and sound, it’s the one project where I fully explored sound. I explored several themes like romantic love, relationship with God, societal issues, matters pertaining to my existential crisis, human relations, navigating the limelight, and mental health.
Sonically, the project incorporated Afrobeats, EDM, Afrobeat, Alternative sound, and RnB. I feel like in my subsequent project, I caged myself a bit more, and even though Festival of the Sun seemed like I was exploring, it was actually quite streamlined and commercially focused.
With Eden Evermore, I felt no pressure; I was just putting beautiful songs and ideas together. The project served as a blueprint for the rest of my career. It was like I want to make music to this standard whenever I make music.
I find that the rest of my career would be an attempt to make music like that again. As I mentioned earlier, it’s a blueprint for my sound. I am not trying to replicate those sounds, I am not trying to retell those stories; I have lived and told those stories. Instead, I want it to serve as a guide to themes I would be touching or the kind of artiste I would like to be. While there won’t be another Eden Evermore or a volume two, it will be a guide for my subsequent projects.
Ogranya, you made your debut in 2019, and since then, you have not looked back. Can you share some of the challenges you’ve encountered in your career and how you navigated them?
When I first started, finding resources was an issue. Music can be quite expensive, so I got a job to fund my music. The further up you go, the nature of the challenges evolves, and the experience of handling the challenges opens your mind. Experience teaches you not only how to overcome obstacles but also how to build and navigate relationships.
Secondly, navigating relationships was a tricky part because I have never been an outside person. My friends from secondary school who realise that I am doing music are always shocked because they never heard my voice and I never attended any parties. As a result, building and maintaining relationships has been difficult. I’m still not perfect at it, but I’m actively working on improving.
What are you most looking forward to with your future projects and what should fans expect?
I am currently working on a project set to be released by the end of the year, which I’ve been working on for over two years. I am trying to explore as many themes and sounds as I possibly can. It feels like a youthful expression for Eden Evermore, as the project encompasses many strong themes that I’ve thoroughly enjoyed creating music around. Right now, I’m deciding on the number of tracks, and I’m truly enjoying the entire process. With this new project, I feel closer to my sound than ever. Currently, there are about 4-5 collaborations on the album.
I also have a Funk project in the works that I have been working on since 2019, and the songs still sound fresh. This is set to be my most commercial project yet—it’s upbeat and distinctly different from what I’ve done before. I’m excited about it, even though I haven’t yet found the courage to finalise it. Also, I plan to return to every city I have performed in for a follow-up show.
Hope Ibiale is a writer and journalist. She has a keen interest in music, film, and literature. You can connect with Hope on X @hopeibiale and via email: hopeibiale@afrocritik.com.