Rema’s rise in music has been exceptional. Long before he became one of Afrobeats’ biggest global stars, he was just a teenager in Benin City, recording himself rapping in the front seat of a car. That clip of him freestyling over “Gucci Gang,” a song by D’Prince, Don Jazzy, and Davido, made its way to D’Prince, who saw something special. Soon after, Rema was signed to Jonzing World, D’Prince’s imprint under Mavin Records, laying the foundation for what would become an unstoppable rise.
In his latest conversation with Rolling Stone for its Future of Music cover, Rema discusses his Grammy experience, his collaboration with Selena Gomez, and the vision behind his latest project, “Heis.” He reflects on his journey, the weight of expectations, and his place among Afrobeats’ biggest names, all while staying true to his roots and pushing the culture forward.
Read excerpts from the feature below.
On not winning Best Global Music Album at the Grammys:
“I was just taking every moment in. I was celebrating people walking up that stage. I had my fingers crossed that I’d walk up the stage too, and when it didn’t happen … it happens. It’s not the first award that I got nominated for and didn’t get.”
On the global success of “Calm Down”:
“I would also say, when I was making ‘Calm Down,’ I never thought the rest of the world would vibe to that.”
On addressing Illuminati rumours:
“Any story can be made up. Random stories have been made up about me being Illuminati, worshiping the devil, drinking blood. I would definitely lose some fans who just believe in anything they see.”
On creating “Heis” and preserving Afrobeats’ roots:
“My mind had so much weight that I needed to disperse. I had different concepts for that project. One, culturally, about the foundation of Afrobeats — paying respect and trying to keep the home sound going. Two was about my personal state, how I want to express so much dark energy that I just kept suppressing to put [out] love songs. It’s just like a stack of emotion that I needed to let go of.”
On calling himself one of Afrobeats’ ‘Big Four’:
“So on Heis, I was talking a lot of shit. It is not cocky. It’s like, ‘What stops you from saying you’re the best? You can say it and stand your ground. It’s even humble to say four. I didn’t pull down the two, I didn’t pull down the three. I just see myself as one of the greats, and it’s a problem. I’m not saying, ‘Oh, fuck everybody.’ It is different from what Kendrick said: ‘It’s just big me.’ I really vouch for the unity of Afrobeats.”
On being misunderstood for speaking up:
“It’s not just [for] me; there’s a kid looking at every move that I’m making. I don’t think anyone has blown up across Nigeria from Benin City. It’s me making the most of the moment, trying to put my chest out so that when the next person from that city comes up, he should be able to stand his ground just as much. Fans prefer, ‘Oh, I’m so lucky to be here.’ I’m supposed to be here by the grace of God because that’s where I envisioned myself to be.”
On the role of artists and officials in Nigeria’s music infrastructure:
“I’m very, very, very hopeful. A lot of people are giving up in Nigeria. A lot of people are angry at Nigeria. But I keep hope. There’s not a lot of people who would carry Afrobeats like this so much, carry culture. It makes me look like a blabber. It makes me look like I talk too much, or care too much, or I’m trying to be a fucking messiah. I don’t want to do much. I just want to do what I need to do.”
On one of his proudest accomplishments—providing homes for his mother:
“I have multiple houses across different countries in Africa, so she travels anywhere she wants,” he says. Two are in Kenya and Ghana, but his favorite is his Moroccan-style Lagos abode. “That was my big brother’s goal, that was my father’s goal,” he says of homeownership. “My dad made much effort to just have the land and properties, but all of that was taken from us.”
Read the full feature here.
