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You’ve described your new album as something old, something new, and something borrowed sonically. What would you say represents the old, the new, and what did you borrow, and from whom? 

Yemi: That’s a very, very apt description of the album. I believe I shared that along the line, as I’ve been speaking on the album. The old would be a symbol of going back to the roots of my sound as the world has perceived it, which is my life. And my life is one of the oldest genres of music. A lot of people decide to call me an Afrobeat artist, and honestly, the truth is that I’m not that alone — I’m so much more, and especially a highlife artist. Then, in terms of something new, I’m trying genres that allow me to be seen in a light that most people haven’t seen me in — for instance, like talk rapping, or whatever it is, there’s that genre. There’s something borrowed — I’m playing with music like disco, I’m playing with house beats, I’m playing with the kind of house beats that you listen to when you’re in Ibiza, you know? So I’m just really having fun and experimenting. Have you ever experienced highlife music that’s infused with disco? Like, I am. This album is a whole new level, and I’m just really excited to share the mixology that has happened on this album.

Your fans chose the title, “It’s Yemi Alade.” What did that moment tell you about the relationship that you’ve built with them over the years?

Yemi: First of all, it’s not every day that a lady doesn’t have an album title. And so when that feeling hits me, I was surprised, because usually I wait on the title to hit me, and then it does. But this time around it didn’t. And I think that the nature of things, or rather the destiny of this album, was for me to reach out to the fans themselves. And when I did, I was very skeptical when I made that video asking for suggestions, and the suggestions just kept flowing in. My comment section went crazy. And I had to take out time — I did a compilation of the titles that struck a chord with me, and I found that the most recurring suggestion was my name. They wanted me to self-title the album. So basically, my fans are the ones that actually titled this album. And so for me, it’s like a love letter to them.

I want to understand how making a song actually starts for you. Take a song, like “Owa,” for instance; it has many layers and different textures and musical elements. When you’re starting from nothing, what comes first, and then what do you do next?

Yemi: Oof! The creation of music — it comes to me in different forms. But most times I find that when I find myself in a situation that gives me inspiration, I go to my notepad, and I just write out like a paragraph, or a two-liner, or just a word that strikes a chord with me. And when I get to the studio, I just expand on that idea. Sometimes I hear a melody, and it inspires what comes after. There are also times when I actually write — it could be fiction, or my own experience, or a friend’s experience. So I think sometimes my friends need to be wary, because I might be writing about them. But yeah, music can start off as a melody, as a thought, as an experience, as fiction. But there are many ways that it comes at me, and sometimes even in a dream.

How long did it take you to make this album?

Yemi: Huh! This album is a compilation of songs that were recorded over the span of three years. But I would say that a good number of the songs that are on this album were created late last year into the beginning of this year.

Did anything unexpected happen during the process of creating it?

Yemi: During the process of creating it, I think one of the most unusual things that my team and I did was to shoot five videos in four days in a foreign country — something that we have never done. And these were not your basic, simple videos — these were videos that were detailed to the tee. It did take months and months of planning. But however it ended up being wrapped up is something that explaining it would not be able to do justice to the whole process. I think that’s what happens when you work with people who are exceptional — they just want excellence, and excellence only. I think another kind of weird thing that happened is, during the feature process, there were some artists I was working with who were supposed to be on the album, but unfortunately it didn’t transcend into the album because I encountered their personality and I didn’t like it. I’m sorry, I had to be petty for a second, but yeah.

Are you able to share what songs those five videos were for?

Yemi: Yeah, I could share a few titles of the five songs. I think you even mentioned one already — “Said” is one of them, because that’s an electric dance song. There is “General Market,” which is a song of inspiration. There is the one with Ben, which is “Don’t Be Shy.” And then there is a song which is house-techno — it’s Afrobeat infused with techno music, and it features two beautiful female artists, Njerae and Sofiya. Sofiya is an undefeated one of those artists that if you don’t listen well or check her biography, you wouldn’t know — because she’s easily doing eighty million listeners on Spotify monthly, and people don’t even know that it’s her that they’re listening to in the malls and all the places. She’s a super mega superstar. And then Njerae is a rap artist from Kenya, very versatile — she sings, she raps. And then there’s also Ferre Gola, who’s been a boss in his own lane for many years, been doing his thing. And I think you all just need to watch the videos and listen to the album when it’s out.

What happens when you put Africans with different musical backgrounds in the same room to create something?

Yemi: You only get magic from that. Because there’s no telling what the next person is going to create. We are all a product of our different environments, our different backgrounds, our different interests. And when we collide, it’s only magic. It’s always a beautiful experience.

Is there a story behind one of the songs on your album that you think listeners would never guess simply from hearing it?

Yemi: I think the answer is — okay, because a lot of people will associate “Alhaja” with a Muslim woman, and I’m not Muslim, first of all, but I do respect the persona and the personality that is the head of every market, you know — and these are stands in the society that are very, very respected. And I made a song about that, being an independent, strong woman with authority. But in that light, everybody wants to talk about the MDs, the heads of companies, and all that, but there are other people who are on the ground that are fully well-equipped and very powerful.

Why is it important to you to incorporate different languages in your music?

Yemi: I feel like language is a medium. And for me, when I’m creating, I just go with the flow and with the inspiration that hits me at that point in time. I do love the sound of languages in music. There are some songs that I don’t even know what the artist is singing, but I love them. And so I feel like language has a way of really cutting through, even more than just English sometimes.

What do you think has changed for women in African music since you started, and what do you think still needs to change?

Yemi: I think what has changed for women in African music is — we are more audacious than we ever were. We’re coming out in numbers. Even when the world thinks that we might not be able, we might not be worth the next paycheck — but guess what, we’re running the banks. And the thing that I think needs to change for African women is — I wish that the media in particular would stop focusing on ageism, stop focusing on pitting women against themselves for clickbait. I also think — I’m particularly mentioning the media because the media is a very important pillar in our industry — and sometimes it’s … I keep mentioning media because I think people forget sometimes that these are people’s actual, real lives. And we need to respect — we need to put focus on the art that is being made, instead of the mockery that is made when we pit people against themselves, especially women. So I feel like the media needs to stop ageism, stop pitting women against each other, and actually focus on the work and focus on giving us our credit. You know, because these days, if you look at the entire world, females are definitely worth every buck.

Absolutely. And what do you think that people misunderstand about longevity in the music industry?

Yemi: I think what they misunderstand is that they say it gets easier when you become successful — it now becomes a walk in the park. That is a fallacy. The biggest fallacy. Biggest fable. Biggest fib — a lie upon a lie upon the back of a lie. It doesn’t get easy … If your career from the ground skyrockets, you now have to start building a whole community in the sky. And that is making the impossible possible. So it doesn’t get easy. So I think that that’s the biggest lie that’s being told around — it doesn’t get easier. But definitely, that’s why they say the strongest will survive.

In a recent interview, you mentioned that Bruno Mars is still on your wish list of artists that you’d like to collaborate with — am I correct?

Yemi: From your lips to God’s ears — yes.

What do you think a Bruno Mars and Yemi Alade collaboration would sound like, and what do you like about his artistry that makes you want to work with him?

Yemi: That’s a two-edged question. I would say Bruno Mars [and Yemi Alade] on the same track is the thing that your playlist has been missing. It would definitely be a song that would tick all the right boxes in terms of the musicology, the delivery, the concepts, the storytelling, the blending of our cultures, and our artistry. The thing I love about Bruno Mars is he tells a lot of stories. He’s also visually very creative. I find that most times when I’m creating stuff, he ends up being on my moodboard. I feel like a lot of people might not be giving him the flowers that he’s supposed to have. He is a lot more than just a musician — he’s a vessel of so much magic. He’s a magician. Yeah.

What is something that you believe now that Yemi Alade, who released “Johnny,” would never have understood about the industry, or even just about yourself?

Yemi: Mm, that’s a very loaded question. Mm, what is the thing that I, who released “Johnny” in 2010, 2011, wouldn’t have believed then about the industry in 2026? I possibly wouldn’t have believed then that one of the – that the actual biggest artists of all time would be a female in 2026, and that is Tems. Nobody can tell me nothing — can’t tell me nothing. You can’t … take two seats, or ten while you’re at it. 

The music video for “Ala Bekee” is hilarious, and it’s such a fun watch. How was it working with Don Jazzy on that?

Yemi: Working with Don Jazzy, from the audio recording to the video recording, was such a walk in the park. He made it very easy to collaborate with him. He’s so professional — from the delivery of the vocals, to understanding the concept, to making himself available for the video shoot. We tried to make everything work around his schedule, and he pulled up, he showed up, and he showed up at every step of the way — even after the production and after the video shoot, making sure that his pages were available for promotion. It’s something that is not only a dream come true for me, but I’m also just really thankful to be able to witness this moment and collaborate with him. For someone like him, who has been in the industry for so many years, he’s worth emulating, and all my respect goes to him. He doesn’t have a lot of collaborations out there with just anybody, and I’m so happy that this was made possible.

What part of yourself exists in your beauty brand, Yem Beauty, that might not come through in your music?

Yemi: What part of myself exists in my beauty brand that might not come through my music? Well, my beauty brand — I get to give you a piece of me that you can actually touch and feel. I don’t think you can touch and feel me on a regular day — I can only touch your heart with my music. But with beauty, I give you something you can touch — your skin, nourish your body, that is safe for you, makes you glow, brings out the beauty in you. Can I tell you more?

How do you spend your day off? What is enjoyment for you?

Yemi: Ah, I have to go and chop life. It’s two ways for me. There are days that I’d rather my off days be just being a couch potato — like, just sit down at home, morning till night till the next day, eat, sleep, have a nice drink by my side. Refresh, reflect, and just observe when fall — right, so just observe the leaves fall off the tree, the branches, and just be thankful for life. And there are days when I just want to — I don’t even see my bed — just want to be outside, you know? And yeah, that’s a typical day off for me. It’s a day to not wear my superwoman cape, you know?

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