Tolu Daniels has an unrelenting dedication to the art of moving people — physically, emotionally, and sometimes even spiritually. Known as The Party Animal due to his visceral crowd control, Daniels cut his teeth hosting events at the University of Lagos, where he built a reputation as the go-to hypeman for everything from fashion shows to underground concerts. By the time he graduated with a degree in Urban and Regional Planning, Daniels had mastered the art of reading and commanding a crowd.

His talent, however, isn’t confined to the microphone. Balancing hyping with his role as an A&R, Tolu Daniels has become an indispensable figure in Nigeria’s music ecosystem. His work as an A&R has given him a front-row seat to the shifts in how African music is consumed and marketed. Hence, beyond the euphoria is a shrewd understanding of the music industry’s evolving landscape. A frequent performer at the Mainland Block Party, a bellwether for what’s cool, attracting thousands of Lagosians eager to experience the zeitgeist, Daniels has become synonymous with the new wave of Nigerian entertainment.

In this conversation, he opens up about his vision for shaping the future of live performances and his passion for hip-hop’s revival.

This interview is lightly condensed and edited for clarity.

BSide: Looking at the Nigerian entertainment industry holistically, what do you think are the biggest challenges creatives face today?

Tolu Daniels: Honestly? Getting paid. It really is one of the biggest challenges creatives face, getting paid for shit that you did. Trust me, there are a lot of people that would rather not pay. As long as creatives ought to create, they have to eat, too. Compensation for work is a very major thing. And it’s not just about money; it’s about respect. Credit is another massive issue. People want to erase your name from work you’ve poured your soul into. It’s exhausting.

BSide: I hear you. You’ve built a reputation as a hypeman. With live performances at the core of Afrobeats, how do you see the role of hypemen evolving?

TD: There is a lot of room for growth; there is a lot of room for us to evolve and do more. There’s also a lot of growth happening in Afrobeats right now and hypemen can ride that wave to do more and be more. As hypemen, we are tastemakers. Being a hypeman isn’t just about “vibes”; it’s about channeling energy and engineering the crowd’s experience. You’re the intermediary between sound, vibes, energy. You’re echoing what the DJ is playing — amplifying the bounce, connecting with the audience. You work with the music as it is delivered. You can transmit that energy to the crowd at your parties. Most times, when an artist is performing, he may not be able to REALLY amp up the crowd, get them ‘hyped’ so as the hypeman, that’s my job. I feel like most artists should get a hypeman most especially if your music is hard.

BSide: Your performances are famously high-energy. I mean, you’re The Party Animal. How do you prepare to bring that kind of intensity every time? What’s your personal formula for setting the perfect vibe?

TD: I wouldn’t say I have a “formula.” It’s simple: if I’m not feeling it, the crowd won’t either. I just try to make sure that I am into it so I can translate that to the crowd. When I feel it, they feel it. So I make sure I’m having fun first because I want the crowd to also have fun. If I’m good, the energy flows naturally to the crowd. So no formula, no pre-show ritual.

BSide: Afrobeats is blowing up internationally. Do you think hypemen can break out globally too? What might that look like?

TD: Absolutely. There’s already movement in that direction. Hypemen are doing incredible work. Uncle Tio is doing something great with Oxlade. Prince is also doing really cool stuff in the U.S. But we haven’t had that one breakout superstar hypeman yet. That’s the next step. I imagine it would look like collaborations with big artists at festivals. Hypemen could be seen as co-creators of live music experiences, not just side attractions. It’s time for us to also begin to play those roles, take on those responsibilities.

BSide: Switching gears to your A&R work, how do you stay ahead of trends? Are there any artists or sub-genres right now that you think are the future of the Afrobeats or Nigerian music scene?

TD: Trends come and go, but good music always lasts. That’s what I focus on. I let the music do its thing. If the music is authentic and truthful, it’ll still speak five, ten, thirty years from now. That said, I do think hip-hop is poised for a resurgence in Nigeria. I feel like hip-hop has taken a serious backseat. Afrobeats is thriving, and I love it, we love it, but I also see so much potential in our rappers. Artists like Millar, Aguero Banks, Jaido P, and Crazy Caleb, Tomi Obanure, AK the King, PDSTRN — they’re really good, making amazing music. The scene is bubbling, and I feel like it’s only a matter of time before Nigerian hip-hop has its next big moment. Check these guys out.

BSide: What’s the most difficult part of working with artists as both a hypeman and an A&R? Do they ever clash?

TD: Not really. For me, they complement each other. It’s basically about the same thing: music. When I’m hyping a crowd, I see what songs people are rocking with. I see their reaction to certain songs, and it gives me direct insight into what’s working and what isn’t. It’s like field research in real time. That said, managing expectations can be tricky. As a hypeman, you’re delivering energy. As an A&R, you’re guiding artists, helping them refine their sound. They’re different skill sets, but they feed into each other in a way that makes both roles easier for me.

BSide: Many A&Rs shape entire genres by aligning their talent scouting with a vision. Do you think there’s a unique sound or cultural direction you’re intentionally trying to shape within your A&R work?

TD: Yeah! I’m always rooting for hip-hop. I love rap, and I believe it’s a genre that deserves more attention here. I want to see more hip-hop and Afrobeats collaborations. I want to see a female rapper and a male vocalist on a record. I want to see a male rapper and a female vocalist on a record. But beyond that, I’m open to anything. Good music is good music, and my goal is to find and nurture it, whatever form it takes.

BSide: You’re sort of a staple at Mainland Block Party and the energy there is great. How do you ensure that things are exciting every time?

TD: Every time I step out, I focus on bringing something new while sticking to what people expect from me. Block Party is all about youth, energy, and rage. It’s the perfect playground for what I do. The crowd is always ready. I get on stage, get with the vibe. Everyone is already on Jameson (laughs). I just tap into that energy and make sure my DJ and I are in sync. From there, it’s about keeping things fresh and fun every time. I want the crowd to believe that they’ve experienced something new, but also feel like they’re part of the same experience that makes Block Party so special.

BSide: Looking at your dual career, where do you see yourself making the most impact in the long run?

TD: Right now, I’ve just been working. Honestly, I’m not overthinking it. I’m just doing my thing — working hard, having fun, and seeing where it takes me. I’m doing my shit and my shit is good. Whether it’s working with artists or the crowds, or even curating my own events someday, I want to keep building something solid. I know people look up to my work. People reach out to say “thank you for doing this, you inspire a number of people.” Event curation or launching my own thing could happen in the future, but for now, I’m just having fun with it, working with the artists I’m passionate about and playing gigs that excite me. The next step will come when it’s time, but for now, I’m trying to expand and make my shit solid, build something really lasting.