Afrobeats is no longer a genre confined to Nigeria, it’s a cultural force reshaping global music. But within this wave of innovation lies a more personal narrative—a return to roots, a search for connection, and the blending of worlds. Few artists embody this duality better than DAP The Contract and Suté Iwar, two creatives shaping their sound across continents yet staying anchored in where it all began: home.
This isn’t just a story about music—it’s a celebration of synergy, culture, and the paths that bring us back to where we truly belong.
In this interview with Drummr, the duo explore the future of sound, identity, and the undeniable pull of Nigeria.
DAP, you’ve had three releases this year- awesome work rate by the way. Who would you say are the people that listen to your music?
DAP: This is a fascinating question. I’ve always had to consider this throughout my career. I lived in Lagos until I was ten, then moved to the UK for high school until I was 19, and finally came to the U.S. for college.
At this point, I’ve actually spent more time in the U.S. than anywhere else. But whenever someone asks where I’m from in New York, I always say Nigeria, not Brooklyn or wherever.
I’m still figuring out how to blend all these influences into my sound so that it resonates across all these spaces. Right now, I’m definitely leaning more into Nigerian sounds, which is why Faaji represents that shift. As I release more music over the next year, I hope to get closer to a sound that feels rooted in Lagos, Nigeria.
That sounds really interesting, and the title ‘Faaji’ feels very traditional and intentional. What are you currently working on?
DAP: Right now, I’m focusing on consistency. I hope to release one or two singles by late summer or early fall. I’m around 60-70% done and have some joint projects coming out before then, as well as a side project with Clyde Lawrence and Cody Fitzgerald, called ‘Hello Jack’, set for a spring release. ‘Faaji’ could even make a surprise appearance, maybe in a remix with Tim—so we’ll see!
Exciting. Suté , how would you describe ‘Faaji’?
SUTÉ : Yeah, it’s interesting—I was just talking the other day about song placement and how it shapes perception. This one has undeniable Afro pop elements, like the vibrant horns rooted in African music. To me, it’s not even experimental; it’s just upbeat Afro pop. I get why someone might see it that way, given mainstream Afropop’s typical sound. But yeah, genres can be strange to pin down; I’d say it’s a great Afro pop or Afro dance track, with a touch of funk—maybe even Afro funk.
DAP: Absolutely, I get that. It’s experimental only in the sense of combining these distinct elements, but at its core, it’s more of an Afro dance or Afro fusion track, like you said. I love that you’re calling this sound ‘Afro funk,’ which seems spot on.
The song pulls from African and American hip hop, plus references to classic lines, like “Do my ladies run this motherfucker? Hell yeah,” which is so hip hop, alongside the more intimate, relatable vibes of “all my ladies in the bathroom” moments. It’s a fusion, representing those three spaces while leaning into an African essence as you move toward a sound that feels like home.
SUTÉ : Yes, it’s very ‘Afro fusion’, and it really feels like a glimpse into the future of Afrobeats. There’s this incredible mix happening where artists are experimenting with influences from around the world, which makes sense—Afrobeats itself has influenced so many genres globally, and now it’s coming full circle. Artists are bringing in elements from places they’ve been, or sounds they’ve connected with, and blending them into Afro styles. Those Caribbean and Latin vibes in the keys, for example, add this fresh, global texture that feels so “right now.” All this mixing and matching keeps the genre vibrant and relevant and I’m so excited to see where this journey leads.
DAP: Exactly. It’s a compilation of different histories.
This conversation just shows the synergy between you both. How did the collaboration come about? I’m very interested to know.
DAP: One of my friends from Masa in Ikorodu introduced me to Suté’s music. Actually, let me start from the beginning—I worked as a lawyer for three and a half years, but I left my legal job in April to pursue a more creative path in music. I’m still figuring out how to share that transition publicly, but I wanted to do it creatively. The beat for this song was the first or second I made after I left, which felt really symbolic of the freedom and enjoyment I was experiencing after a tough job. I sent it to my main contact and distributor in Africa, Adam, who also works with Suté . Right away, he suggested I get Suté on this track. It was perfect timing because I’d been wanting to collaborate with him but was waiting for the right beat to send over. I’m actually glad we waited until now—this felt like the ideal moment to work together.
Interestingly, we still haven’t met in person, so we developed the song by sending it back and forth, adjusting the verses to maintain synergy. We were both conscious of making sure our verses connected with each other, creating a single vibe even though each verse brings a different energy.
SUTÉ : I first became aware of DAP around 2016. The initial time I saw anything from him was in a video where he was working with Mark Ronson, which immediately caught my attention. I remember thinking, “Wow, who is this guy? A Nigerian working at this level!” That was my introduction to DAP, and over time, I found out that we actually had mutual friends. I was already a fan of his music and his musicality, but the more I learned, the more I realized we shared similar influences. In that video, I found out he played keys and had classical training, which is exactly how I started too—learning classical piano at MUSON from age seven.
SUTÉ : I started studying classical piano at MUSON when I was seven, doing graded exams until I was about twelve, before switching to saxophone. So, I didn’t stick with classical piano long-term, but that early training shaped my musical foundation. Seeing DAP rapping, singing, and producing reminded me of my own approach and made his musicality really stand out to me. I’ve always found it challenging to plan features; I prefer building connections naturally in the studio, just creating with people in the same space. So, I’d been hoping to work with DAP in person, feeling like we shared a similar musical background and influences.
DAP: Yeah, Moon Fever.
SUTÉ : Yeah, it was a completely different vibe, and I was taking my time with it—I didn’t feel the inspiration right away, plus I was really busy then. But when he sent this track, it resonated with me instantly; it felt like it matched where I am in life right now, with the same kind of energy. So, we got it done!
Nice! Suté , you have released a project every year since 2019. Is a project in the works for this year?
SUTÉ : There’s no full project planned for this year—just a single at the end of November. After Ultralight, I wanted to take some time to reflect and figure out what direction to take next. Anyone familiar with my music knows I’m always experimenting, so this pause was intentional, to decide if I want to keep exploring or maybe stay closer to my previous style. So, aside from this upcoming single, which will be my second of the year after a release in February, I’m gearing up for a bigger project next year.
As an African in the diaspora who has also lived in Nigeria, how do you see African music evolving? We’re witnessing Afrobeats go global, but from your perspective, do you think there’s more to come for African music?
DAP: Absolutely. African music is in such an interesting place right now. When I look at Afrobeats’ growth over the last five to ten years, I see a lot of similarities with what happened with hip-hop 20-30 years ago. For example, as a lawyer, part of the reason I pursued law school was because I saw so many of our friends getting signed to labels and facing the same issues hip-hop artists had been dealing with for decades—lack of information and industry knowledge.
In a similar way, the Grammys trying to group all African music into one genre is a bit like what hip-hop went through. There are so many different sounds across the continent that can’t just be labeled under one term. I think we’re at a point now where these divisions are becoming more evident, and while some see it as a positive change, others may not, but it’s important for people to recognize that there’s so much more happening beyond the mainstream label of Afrobeats.
For instance, Burna Boy’s last album fused old-school hip-hop and R&B samples with distinct Nigerian vibes, which felt like a big step forward. Then there’s Rema’s recent album, which brings a trap influence to the Nigerian sound, almost like the Nigerian version of what Travis Scott is doing, especially with the visuals, performances, and overall energy. That album speaks directly to the youth, capturing their high-energy, fast-paced spirit. I think we’re seeing a real shift in African music, and it’s exciting to watch.
Here’s a random question for you both, starting with DAP: What’s most important to you, and why?
DAP: Having lived in the U.S. longer than anywhere else, I miss home. I see my sister’s kids only for two weeks at Christmas, and I’m realizing that Nigeria, my roots, are what’s most important to me.
All the experiences I’ve had made me who I am, but now, I’m drawn back to where I’m from. It’s about not shying away from our challenges and recognizing that change will only happen if we take responsibility ourselves. So, what matters most to me now is Nigeria and working towards success from within.
Suté , if you could make one song that everyone in the world had to pause and listen to, what would that song be?
SUTÉ : If I had to make one song for the world, it’d be a simple, beautiful song—because simplicity is what draws people in. And honestly, it would be about love. That may sound a bit corny or spiritual, but love really is what makes the world go round. So, yeah, the song would center on love—how it connects with our humanity. It’s a big theme, but that would be the core message for sure.
The idea of “otherness” is something that, if you really care and take a moment to pause, becomes meaningful. Part of why we make music is to find a way to express ourselves and connect with others around what we’re sharing.
