In present-day Nigeria, creativity is no longer siloed within one discipline but thrives at the intersections of many. The country has no shortage of dreamers, it has always been a pressure cooker of ideas, but success here takes more than great ideas. It takes discipline, tenacity, and an unyielding belief in the power of creation to manifest change. But BadManMide and Kwame understand this. It’s tempting to reduce their successes to chance encounters or the arbitrary blessings of talent, but both men bristle at such oversimplifications, keenly aware that their achievements are the consequences of years of hard work, strategic thinking, and a profound self-awareness that their impact is not only possible, but inevitable.

BadManMide is a name synonymous with the meteoric rise of artists like Victony. He’s a tactician through and through. He doesn’t deal in accidents. To him, talent without direction is just static, a flicker destined to burn out. He operates with precision and an insistence on purpose as the driving force behind every decision. He also has a fidelity to authenticity with little patience for the hollow provocations that often define social media strategies. But BadManMide’s playbook isn’t built solely on serendipity. As the founder of Upnort, his marketing agency, he has cultivated a reputation as one of the sharpest minds in the business. His work with Ilona, an Afrobeats wunderkind whose haunting tunes and evocative Nigerian Everyman persona have garnered considerable acclaim, is symbolic of this game plan.

Curator-creator hybrid, Kwame, meanwhile, sees the Lagos nightlife in a state of flux, a living, breathing entity, and he knows how to orchestrate its many moving parts. He understands that the city’s social scene is a delicate ecosystem, one in which each element must be carefully managed. He’s urgently compelled by the stiff desire to satisfy the culture. And his latest venture, Love in the Boulevard — a sanctuary for R&B lovers which reimagines Lagos’ nightlife as something softer, more deliberate and less formulaic — exemplifies this philosophy.

 

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For all their success in music and nightlife, Mide and Kwame’s pivot to the culinary world might seem unexpected; but to them, it was inexorable. They’ve both forged a partnership that bridges the city’s hunger for hedonistic indulgence and its growing demand for meaningful, connected spaces. Together, the two helm Paperbox Eats, a venture that furthers their acumen for community-driven business.

But neither man is content to rest on their laurels. They remain fixated on what’s next, on how to continue pushing their industries — and themselves. In a social climate where attention spans are short and the next big thing is always just around the corner, BadManMide and Kwame are playing the long game. And if their track record is any indication, the best is yet to come.

In this conversation, the duo reveal insights into their ongoing drive for growth and the symbiotic nature of their partnership.

This interview has been lightly edited and condensed for clarity.

Nigeria is packed with many great talents, but not everyone breaks through. What do you think separates those who succeed from those who don’t?

BadManMide: Honestly, it’s all about clarity and intention. It’s not enough to know what you’re doing — you need to truly understand it. That clarity shapes everything: your decisions, your strategies, and how you approach your craft. Many people have talent, but they haven’t taken the time to figure out their purpose or direction. The minute you sit down and ask yourself, “What do I really want to achieve?” and then align your actions with that vision, you start creating momentum. Without that clarity, it’s easy to get lost in the noise or burn out chasing the wrong goals.

Do you remember the first time you heard Llona? What was the moment you realized the guy had something truly special?

BadManMide: From the first day I heard his first single, I was so certain there was something there. I could just tell from listening to his music. But it was meeting him in person that sealed it for me. You know when someone just carries something that lets you know they’re destined for something great? That was Llona. I knew this was someone worth building with.

Social media has obviously revolutionized marketing, but it’s also created noise. How do you cut through the clutter to create campaigns that are actually well-thought out and impressive?

BadManMide: Social media is both a gift and a challenge. On one hand, it’s this incredible tool that lets you reach millions, but on the other hand, it’s oversaturated with content. For me, it starts with studying the market daily — not just observing trends but analyzing mistakes and successes. Marketing is practical; there’s no magic formula. I experiment, adapt, and sometimes borrow ideas from other industries to keep things fresh. At the heart of it, though, is authenticity. If you understand the artist and their story, you can create campaigns that resonate instead of just adding to the noise.

This also trickles down to the explosion of Afrobeats and all the attention it’s put on the Nigerian music industry and its talent. What’s your strategy for making sure the artists you work with stand out in such a crowded field?

BadManMide: By God’s grace, all the artists I work with tend to be extremely talented. Victony, for instance, we built his marketing from scratch. And when I say “from scratch,” I mean from the time he had just 20,000 followers on Instagram. I think he is a truly special artist.

What sets me apart is that I make a genuine effort to understand what the artist wants. I’m 100% committed to pushing narratives that align with the artist’s brand and that they’re comfortable with. That’s why, for personal projects, I need to know the artist deeply to create effective marketing strategies. Staying true to who they are is essential because I’m marketing them as they truly are. When people see what we’ve built, they already have a sense of the artist’s authenticity.

It’s not about creating an image of them as a “cool guy” when, in reality, they aren’t — these things can backfire. Understanding the artist and their brand makes marketing so much easier because you know what resonates with them. A lot of the controversial tactics on social media don’t serve any purpose. Beyond potentially endangering the artist’s career, they leave a lasting, often negative, impression in people’s minds. Comparing your artist to others might seem harmless, but it diminishes their individuality and reduces them to a product for comparison. Your artist should stand as their own person, always.

Wise words. You’ve been part of some wild success stories. Was there ever a campaign where you were like, “Wait, this is blowing up faster than I expected”? What’s that one project where the creative risk paid off in a way you didn’t expect?

BadManMide: I think that would be “Soweto” because we didn’t expect it to become such a hit. We were initially trying to push another record off the EP, “Jolene”. Then we noticed a little buzz on Twitter, and we thought, “Okay, let’s just capitalize on it.” We amplified the buzz from 0 to 100, but eventually, our efforts couldn’t keep up; the record had already taken off. We had to start reaching out to American influencers to get them to hop on it because it was reaching their audience. So, I think it became a campaign in itself.

You’ve worked on so many projects, but I’m curious: has there been a moment when you realised you’ve made some missteps. How did it shape your work today?

BadManMide: For me, I’d say it was mixing family and business. I won’t go into too much detail, but I’ve learned that it’s crucial to differentiate the two. Family is family, and business is business; they’re entirely separate entities. There’s this idea that the two can seamlessly work together, but trust me, they rarely do. That’s one of the biggest lessons I’ve had to learn: to recognize the clear distinction between family and business. Knowing where to place people — whether in your personal or professional life — is essential. Once you can do that, you’ll find yourself in a much stronger and more untouchable position.

As someone deeply embedded in Lagos’ cultural fabric, what’s the story of the city you wish more people understood?

BadManMideis a city of contradictions. It’s tough, but it’s also full of opportunity. People often focus on the chaos, the traffic, the hustle, but underneath it all, there’s this incredible sense of possibility. Everyone here is chasing something, and that energy is contagious. Lagos forces you to be resourceful, creative, and resilient. It’s not always pretty, but it’s inspiring in a way that’s hard to find elsewhere.

Let’s talk about Paperbox Eats. You’re co-owner. What made you want to extend your creativity into that space? And how do you balance the competing demands of running a marketing agency, managing talent, and operating a restaurant?

BadManMide: I like to see myself as a businessman and an entrepreneur. The idea came in, and it was only right. It felt like the right time. You know, Kwame and I were like motion boys, always moving. At that period, we needed something like that. I’m a marketing guy, and Kwame is a branding guy. We decided to merge those two worlds to form Paperbox.

Now, managing these three things — Paperbox, Upnort, and Llona — can be crazy. But if you grind, how exactly do you make it happen? I mean, you just set your own rules for each of these things, and it makes life easier. The minute you know, “These are the things I’m meant to be doing,” it becomes manageable.

I am heavy on teamwork, so I try not to do anything alone. In every working capacity, I have a team for everything. One of my goals this year that I’ve kept up with is to never, ever do anything alone. It never pays. I just know my rules. I know my responsibilities in managing each project: for Llona, these are the things I’m meant to be doing; for Upmort, these are my tasks; for Paperbox, these are my priorities. With that, I’ve been able to manage being out there without slacking.

What do you think the next frontier for Afrobeats is, and how are you positioning your talent(s) to meet that future?

BadManMide: So, I think the next big thing for Afrobeats is becoming even more global, not just in music, but in areas like fashion, film, and brand partnerships. It’s already popular worldwide, but now it’s pushing into deeper markets and connecting with more people on a whole different level. All the talents I work with, I think the goal is for them to stay true to their roots while creating stories and music that people anywhere in the world can connect with. You know, we’re making timeless music over here. We’re working — I don’t want to go fully into details, but yeah, we’re working. We’re working, and we are going to be in international spaces in no time. Patience too; we’re not rushing.

You’ve had some massive career highs, but what’s the one moment that still gives you goosebumps, an instance when you realized you were shaping culture in real-time? 

BadManMide: I think that was when Victony performed at the O2, and that had a strong impact on the industry. People sang the song word for word, and I was there when we recorded it. We recorded it together, and I was there for the song, seeing that amount of people sing the song word for word. Yeah, that was a cultural shift internally. I hadn’t seen something like that before. You know, it felt like, yeah, we can do this. We can actually have millions of people listening. Why not?

You’re a connoisseur of energy and atmosphere. Do you see yourself as more of a curator or a creator?

Kwame:  I’d say I’m a mix of both. Curating is about setting the stage, making sure everything falls into place, and creating is bringing something out of nothing, making that connection happen. I thrive in that space, creating experiences that make people feel something, that make them escape their reality, even if it’s just for a night. I guess I do both at once: curating the scene and creating the vibe.

When did you first know you had a talent for creating and delivering experiences? There must have been a moment when you realized, “Okay, I’m good at this.” Was there a specific event or night that clicked for you?

Kwame: Oh, absolutely. It was in 2017 after I threw a show. I remember sitting back that night, looking at the crowd, seeing people really connect with everything. The feedback came pouring in, social media blew up, people were tweeting about it, posting on WhatsApp. That’s when it really hit me. This is it, man. This is what I want to do.

Lagos’ nightlife is something else — untamed, layered, almost alive. How much do you leave to spontaneity, and how much do you keep firmly in hand? Obviously the thrill is in the details. Are there small touches or choices you make that no one sees but you?

Kwame: Lagos is all about spontaneity, no doubt. But honestly, we spend a lot of time curating every aspect. From the dancers to the bottle girls, to the DJs, to the setlists — it’s all planned. But the magic happens when things go off-script. Like when a big-name artist shows up unexpectedly, or when the energy shifts and you need to change things on the fly. That’s when spontaneity comes in. It’s the little details, like ensuring the vibe is always right, or making sure the guest of honor feels like they’re having the best time. Most of the magic is in those small moments that only we see.

Do you think the nightlife scene in Lagos is ready for more experimental concepts, or is it still rooted in certain formulas? 

Kwame: Right now, I think Lagos nightlife is in an experimental phase, with more people gravitating towards lounges than clubs. The fact is, clubs are often short-term businesses. As I’ve mentioned, very few clubs last more than four or five years and still remain strong. So, people are diversifying by creating lounges that offer the same vibrant atmosphere. These spaces feature smaller performances, like ballet dancers and fireworks, where you can enjoy a meal, sip champagne, and have a good time without the overwhelming noise of a club. It all began with places like Zoya, then moved to Zaza, and now we have Boho, which is always packed. These days, people tend to prefer lounges over clubs, although, inevitably, they still end up in a club at some point.

You’ve seen trends in nightlife come and go. What’s one aspect of the nightlife here that you hope never changes?

Kwame: The respect for the people behind the scenes. The PR, the hype man, the DJs — I think we’re in a golden age where everyone involved in nightlife is starting to get the respect they deserve. It wasn’t always like that. A few years ago, if you told someone you worked as a nightlife PR, they’d look at you sideways. But now, people get it. Everyone plays a role, and there’s a level of respect for all the moving parts. I really hope that doesn’t change.

How did the pivot to Paperbox Eats come about?

Kwame: So, we actually sat down and thought about it one day and said, “Okay, we’re in nightlife, but there aren’t many spots that serve a variety of Nigerian food in the morning.” All we had to do was go to one place every day to eat, and it got boring. So, we decided to tap into the market and create something that wasn’t there a place where people could come and eat early in the morning after the club and all that. As a creative entrepreneur in Lagos, one thing I’ve learned is to try as much as possible not to be boxed in. Learn from your mistakes. Rejuvenate yourself. Try new things. Do new things. Just don’t get stuck in one spot. If something isn’t working, try something else. Just keep doing new things, man.

The process of building something great in such a fast-paced, hyper-commercialized environment like Lagos must be challenging. How do you keep your projects grounded, and what are the strategies you employ to ensure they stand the test of time rather than burning out?

Kwame:  To be honest, staying grounded is about staying authentic. Quality will always outlast the rush. That’s what I tell myself. I don’t dive into anything just to follow the crowd; I take my time. I sit down because I value honesty. There’s pressure from everywhere and everyone, and new things always need to be done. But you have to take a step back, you know? Whatever you’re doing, go back and really think: is this why I started? Is this what I want to do next? Staying grounded means understanding the game, so you don’t rush into something that you might regret. And burnout isn’t the end, it’s okay to burn out and come back refreshed after a few days.

What’s the one question you wish more people asked about your work, and what’s your answer to it?

Kwame: One question I wished people asked me is, “How do you do it?” And yeah, my answer will always be God.