Tiwa Savage, a Nigerian musician, has revealed how determination and a little “shamelessness” helped her secure a record deal with Mavin Records in 2012 thanks to Don Jazzy.
Even though she had collaborated with some of its members, the award-winning singer recalled how her initial attempts to join Mo’ Hits Records were unsuccessful.
“Mo’Hits didn’t include me. I’d done some songs with Jazzy and other artists, but I wasn’t officially signed. I went to him and said, “Can you sign me now? ” when he started Mavin.
I re-asked him, “I asked him.” Oh my goodness, I’m not ashamed. I re-asked the question. She revealed in an interview with Afrobeats Intelligence that she had just said “yes.”
Tiwa stated that she had approached several major labels in Nigeria before being turned down for the Mavin deal.
“No, they all said no.” They didn’t believe blending R&, B, and Afrobeats would work, in my opinion. They would say, “You’re a great singer, you look amazing,” but I never received a response.
“I sold my car, sold my house in L.A., and declared that I would return to Africa as my next-biggest asset.” I was unable to return to L.A. and begin writing again. She remarked, “I had to stay.”
The 45-year-old singer claimed that her success came with the success of her debut single, “Kele Kele Love,” which made her known to the Nigerian audience. However, it was the follow-up, “Love Me,” that made her a star.
When “Love Me” dropped, people thought, “Wow! This musical instrument might actually work, in my opinion. “
The secret to success is label signing.
Tiwa Savage, known as the Queen of Afrobeats, said it helped her develop as a businesswoman while also shaped her as an artist.
Mavin still feels like family to me. I’d go to Jazzy’s room if there was a problem, and we’d all gather there: Sid, Reekado, and Tega. She said, “We’d cry, talk, and get through it.”
Most labels don’t consider your personal circumstances, but Mavin made it feel different. Don Jazzy is more interested in you than just your stats.
One woman’s mother also pointed out that choosing the ideal label only became apparent after she left.
Who you sign to is very important, Tiwa said. It wasn’t appreciated until after I left. Once you stop producing hits, some labels view you as a dollar sign.
Tiwa became the first Nigerian female artist to join Universal Music Group (UMG) in signing a global deal in 2019. Their seven years of dating were deemed “epic,” according to Don Jazzy.
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Why Her Son Won’t Be A Musician?
The singer also discussed the difficulties of juggling motherhood and work, particularly during the COVID-19 lockdown.
Even at two a.m., I was always at home recording and watching things. I disliked that my son and I weren’t having fun together. The singer said, “I couldn’t keep work from my home.”
Tiwa said she is firmly opposed to her son pursue music despite the toughness and darkness of it, citing the humour and ferocity of the genre.
There’s no way for him to enter music, she continued. No Hell. I’ve witnessed parents who are successful in music pressure their children to follow, even when they are not gifted. He must choose his own path, I want to see. Music is difficult.
The Afrobeats star reiterated her previous commitment to signing artists herself, expressing her frustration with the technicalities of doing so.
“My heart won’t take it,” the statement read. Very little is achieved in this area. Even if you have luck and get hits, she said, it’s even more difficult to keep a career going for five or ten years.
Mentally, it’s draining because “people think you’re wealthy, but you still have to look the part even when you’re not making a lot.”
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Gender disparity in the industry
Since Afrobeats started to gain popularity with artists like Wizkid and Davido, the genre has largely been dominated by male artists, with fewer women enjoying the same amount of attention.
Most female artists are still attempting to break into a largely male-dominated field despite the presence of many talented female artists.
However, Tiwa criticized the way that women are frequently viewed differently from their male counterparts in light of the ongoing issue of gender bias in the Afrobeats scene.
I detest the statement, “I hate that’ for a woman.” Like, “You’ve done well for a woman,” for example. It is overly male-dominated.
“I don’t want to fill a spot on a lineup just because I’m the only woman there.” Because I’m the best, I want to be there. Even after ten years, I find it hard to believe I’m still fighting these battles.
The 45-year-old singer also made a point about the contentious appearance of her 2024 single “Wanted” in the music video for her controversial appearance following public criticism that she was no longer “more desirable”.
“My time had passed, and there was talk that I was married.” So I said, “Let me do something crazy.” I wanted to challenge that narrative, she said, but it wasn’t just to be sexy because I’m naturally a tomboy.
Savage claims that Tunji “TJ” Balogun, her ex-partner, was responsible for the majority of the image shift.
She remarked, “He told me to start waxing, and wear wigs; he changed my appearance.” In a T-shirt and baggy jeans, I was a songwriter. Let’s give them the African equivalent of Beyoncé, he said. Although the backlash was not my thing, we persevered.”
Starting Late, Maintaining Relevance 
The mother of one asserted that her career came to her with more experience than many of her peers, giving her an advantage in the field.
I didn’t start out young. When I was in my forties, I released my first single. However, as I studied music, I became familiar with terms like “in perpetuity” and “first right of refusal.” That was a big help, Tiwa said.
Tiwa questioned how she managed to stay relevant in a rapidly evolving field by taking chances and building on her mistakes.
The singer remarked, “This project I’m working on right now is a risk.” I’m not sure if it will work. But I never fail to take responsibility. I take lessons from it if it fails. Never let failure derail me.
Savage also reaffirmed her joy at seeing Afrobeats become popular recently, but she also expressed concern about losing one’s identity, putting emphasis on the need for Africans to master their own narratives and creativity.
