“One thing I’ve understood over time is that relatability is very important when making a music project”. – OluwaMillar
By Emmanuel ‘Waziri’ Okoro
As Afrobeats continues to make significant inroads into global music frameworks, it has also enhanced the recognition of other genres native to West Africa. While there are ongoing conversations about the seeming decline of its Hip-Hop scene, genres such as Indigenous Rap and Street-Hop have continued to inject fresh talents that are making their presence felt in and out of mainstream consciousness.
One of these fresh voices currently carving Indigenous Hip-Hop in his own image is Favour Joshua Oparemi, popularly known as OluwaMillar. His earlier rap singles, such as 2022’s “Menu” and “Paradise” released in 2023, gradually built a cult following around his music.
But none of them made an impression quite like his breakthrough single, “Alubarika”, released last year. Just before the release of his debut project, Agbalagbi, OluwaMillar was shortlisted on Afrocritik’s 25 Emerging Artistes to Watch Out For in 2025.
I had the pleasure of cornering the artiste for an exclusive interview to discuss his music, the way he approaches his music, the creative process and motivations behind Agbalagbi, and much more.
For most of our readers meeting you for the first time, can you tell us a bit about yourself?
My name is Joshua Favour Oparemi. I am a Yoruba boy from Oyo town, a 45-minute to 1-hour drive from Ibadan, which everyone’s familiar with. It’s a really cozy place and serves as the foundation for the way I make music, especially the depth of Yoruba encoded in my songs. I grew up in a family of five, and I have twin siblings, Goodness and Mercy.
So, can we say that Goodness and Mercy are following you all the days of your life?
(Laughs). Exactly. Every time I say the grace, I dey always laugh whenever it gets to that part.
Music can be a passion for some and a leisurely activity for others. At what point did you decide that you were going to pursue music as a career?
I grew up around a lot of music. My mum was a staunch believer, so I was introduced to a lot of Gospel music. On the other hand, my dad was a bit more liberal and played a lot of Fuji and other popular music of the time.
The first time I truly discovered music for myself was during one of my school holidays, when I went to live with a relative. During that period, I went on an errand and came across 9ice’s song, “Respect is Reciprocal”. Back then, most contemporary music was tagged as Hip-Hop, and to be honest, what 9ice was making at the time had elements of Hip-Hop. It was rich – there was multisyllabic rhyming and a dynamic use of Yoruba. That was when I began to embrace the idea of making music.
But I was chronically introverted, to the point where my teachers were a bit worried. I could count the number of words I said in a single day. However, listening to 9ice ignited something in me.
Apart from 9ice, who were the artistes you looked up to on the come up?
Remember, this was before the streaming era. Waptrick was in vogue, and I downloaded a lot of 9ice’s songs. Later, I branched out and started downloading and listening to Dagrin, Olamide, Lord of Ajasa, Reminisce, Seriki, and so on.
At the same time, in secondary school, I started involving myself in rap groups. At one point, my family moved, and I was surrounded by Muslims. This, along with my interaction with those rappers, inspired many of the Muslim references in my songs. All my friends—from school, the rap groups, and my neighbourhood—and the music I listened to contributed to what you see today.
One moment that truly sealed it for me was when one of my friends boasted to another person that I could really rap. They both came to my family house late one evening and knocked on our door. Surprisingly, my mum told me to go meet them outside, and I freestyled on the spot. It resonated with both of them, and that was a huge moment for me.
When I got admitted to university, I was very active, performing and freestyling at shows. In 2019, during my IT (industrial training), I made “Nawa O”. Around that time, Voice2Rep put out an ad asking for submissions, and I submitted “Nawa O”. Later, I got a call saying I had been accepted into their programme. I thought it was a scam until they sent me a transport fare to Lagos.
When I got there, I was introduced to artiste development and the music business for the first time. It was a very insightful and enlightening experience.
How did your folks take the news about you choosing to pursue music?
I am blessed to have parents who were not against the idea of me doing music. They were willing to make concessions as long as it didn’t affect my studies. My mum would casually suggest that I do Gospel music, but my dad wasn’t particularly bothered.
When I released my new project, Agbalagbi, my dad saw the announcement and congratulated me on WhatsApp. It’s truly a blessing to see that both my parents are supportive of my musical pursuits.
Your single, “Alubarika” released last year seemed to make a huge impression not just on niche circles but on the mainstream. How do you feel seeing that song take off the way it did?
If every time we start something, we can see the end from the beginning, it would be an overwhelming experience. I did not see that happening. The only thing I had in mind was to create a great record.
It was the first time Dinho (the producer) and I met. NYSC had posted him to Iwo, and I was serving in Oshogbo. We linked up and made a bunch of songs and “Alubarika” was one of them. A part of me is very grateful that it made such a huge impression on most listeners.
Walk me through your creative process when making a new song. Where does OluwaMillar start?
It’s very spontaneous. Sometimes it could be the beat, the lyrics, or even a melody in my head. When inspiration comes, anything goes. I can just sit in the studio, get lost in my thoughts, and before I know it, I’ve recorded a verse.
Your debut EP, Agbalagbi, seems to be making a huge impression right now? What was the creative process behind making the project?
I just wanted to share and tell stories. One thing I’ve understood over time is that relatability is very important when making a music project. I wanted to curate as many stories as I could. I had initially planned to release the project last year, but everything hadn’t come together until now. The project was simply a leap of faith, and I’m glad it took off the way it did.
Agbalagbi seems to appear like the intersection between faith, your struggles on the come up, and your dealings with fame. Was that an intentional creative decision or it just happened on the go?
It was a bit of both. My chief inspiration has always been life. The production is a condensed curation of different stories and experiences from me and everyone around me. As much as we come from different backgrounds and move through life differently, there are common themes that connect us: faith, hope, depression, pain, and anger.
What I wanted to do was tell my stories, share other people’s stories, and let these themes reveal themselves. From the start, I texted Dinho to come produce for me, as I was writing a lot at the time. All the events I went through in those years were what I compiled on the EP, and those themes naturally appeared in it.
Most artistes encounter creative blocks when working on their projects. Was that something you experienced when making your EP? How were you able to navigate these complexities?
I’ve encountered a couple of creative blocks while making music, but one thing I’ve learnt that has been useful to me is not putting myself under pressure. During the making of “Muri” on the EP, I wrote the first verse in under 30 minutes, but I got stuck on the second verse. I didn’t want to rush it since I was telling a powerful story.
So, I gave it time, and slowly, brick by brick, I began to pen the verse until I was done. My advice to anyone encountering blocks is to do the most when you’re productive, so you don’t feel drained during the downtime.
Music is a universal language, and these days, but these days we see artistes experimenting with their music. Do you ever feel pressured into switching your sound in the near future?
No, I don’t feel pressured to switch up my sound. However, I have occasionally dabbled in other genres. The pressure for me would be sticking to my niche sound while still experimenting with others.
Your project boasts of a lot of features including Jamz FR, Bayou, Mojo AF, and others. What do you look out for when picking your features for your EP?
Talent is the obvious denominator when it comes to the features. But I connect with these guys on a deeper level. For instance, Abifarin Famoyewa is an Ifa priest who taught me Yoruba in secondary school. I felt that the intro needed someone like him, so I texted him, and he agreed to do it.
“Opelope Anointing” was a track I enjoyed as a kid, so I had to reach out to Mama (Evang. Dr. Dunni Olarenwaju) for her approval and blessings to sample the record. Everyone who appeared on Agbalagbi was not only talented, but we connected quite well. It made working with them easy, and it was just amazing that I could coast through. Each of these guys has their own unique approach to making music, which I enjoyed so much.
In the course of making music, there are some dream collaborations that may have crossed your mind. Which name is on your list?
I’d really love to work with Chronixx, Saba, Olamide Baddo, Reminisce, Chance The Rapper, 9ice, Lord of Ajasa, P.Priime, and Tempoe.
You’ve been in the industry for some time now. What do you know that you wish you knew then? What advice would you give to up and coming musicians who want to follow your path?
You need people who are actively investing in your craft—and I’m not even talking about money, though financial support is important. It’s crucial to put yourself out there early on in your career. As an artiste, it’s vital to cultivate and build relationships, allowing people to grow with you as you advance in your career.
Someone sent me a video of me freestyling back in university, and it warmed my heart. Another thing to focus on is your aesthetics and brand image. How people perceive you as an artiste will determine whether they stick with you or move on.
Lastly, learning fast is key. As situations arise, you must be ready to tweak a few things along the way while constantly improving.
Emmanuel ‘Waziri’ Okoro is a content writer and journalist with an insatiable knack for music and pop culture. When he’s not writing, you will find him arguing why Arsenal FC is the best football club in the multiverse. Connect with him on X, Instagram, and Threads: @BughiLorde