“There Are Lots Of BeatMakers But Fewer Producers”- Philkeyz

Nigerian producer and artiste Philkeyz has emphasised the importance of in-person studio collaboration, creative intentionality, and business structure in sustaining success in Africa’s competitive music landscape.

Speaking during a studio appearance in Accra, Philkeyz reflected on his journey, creative process, and the evolving machinery behind Afrobeats’ global expansion.

Weighing in on the debate about remote production, Philkeyz, agreed that physical studio sessions often produce stronger results.

“When you’re in the studio with the artiste, you can bring out more emotion. You can control the session,” he explained. “There are lots of beat makers but fewer producers. A producer must know when to add more, when to reduce, and how to direct the artiste.”

According to him, musicianship remains the foundation that separates a technical producer from someone who merely assembles sounds. Having studied music formally, he says that technical grounding allows him to guide artistes effectively, especially those who may not fully understand their own creative direction.

Philkeyz, whose catalogue includes collaborations with Wizkid, Kiss Daniel, Yemi Alade and Adekunle Gold, revealed that each artiste approaches sessions differently.

Wizkid, he noted, prefers to freestyle extensively before refining lyrics. Kiss Daniel and Adekunle Gold, on the other hand, favour isolated recording environments to tap into emotion without distraction. Yemi Alade thrives on spontaneous freestyling before later structuring the song.

Despite the differing approaches, Philkeyz insists that energy remains the most critical ingredient. “If the vibe is right, the record comes easy.”

Addressing whether trendy words or viral slang influence song selection, Philkeyz stressed the importance of longevity over momentary buzz.

“Trendy words may last for a month. But you must ask yourself, how long do I want this song to last?” he said, referencing timeless records as the benchmark for sustainable impact.

While he acknowledges the need to stay aware of current rhythms, he believes producers must balance trendiness with authenticity to create music that transcends borders.

On Nigeria’s dominance in music, Philkeyz admitted that significant financial investment fuels much of the industry’s visibility.

“There are machines in this industry,” he explained, referring to structured promotion, marketing budgets and strategic distribution. “Sometimes the difference between one artiste and another is simply finance and the right people around them.”

However, he also pointed to what he called a “grace factor,” noting that some songs succeed beyond calculated investment.

Philkeyz was candid about the business side of production, stressing that music must be treated as a company.

“Music is business. Split sheets are normal,” he stated. “If you want to go far, treat your brand as a company.”

Though he has received label offers in the past, he remains independent, preferring flexibility over restrictive deals. He cautioned that while some labels understand the business and nurture talent effectively, others may limit creative freedom.

Currently, Philkeyz is working on a cross-country EP, collaborating with artistes from Nigeria, Ghana, Uganda and South Africa. The project, he revealed, aims to blend Afrofusion and Afro-soul influences while spotlighting both established and emerging talents.

“It’s about vibe, availability and alignment,” he said. “The bigger the song gets, the better for everyone.”

As Afrobeats continues its global ascent, Philkeyz believes producers hold a defining role in shaping musical eras.

“Producers control the direction of sound,” he concluded. “But nobody gives you flowers. You have to claim them.”