Jess ETA: Abuja To The World
The first time I sat down to talk to Jess ETA, he had just dropped his EP Balance. When speaking on his hopes for the future, he said “I’m excited about growing the community of people who relate to and appreciate my music. Getting back to performing live and getting back into the studio”. During the almost two years since our initial interview, the prolific artist and producer went on to sign with indie label Exodus Entertainment, performed on the Afrochella stage, opened for fellow Nigerian star WurlD, and traveled all the way to South Africa to finetune his latest release, Playing With Fire.
One of the more well-rounded projects to come out of West Africa in recent months, Playing With Fire is strengthened by well-placed features by some of the continent’s heavy hitters, namely Buju (Body on Fire), Gemini Major (Raging), Psycho YP (Paralyzed) and Azanti (Dangerous). The production has also evolved to present a more refined sound, pulling from both South African as well as Nigerian producers in Christer, Benjamz and duo Riverays.
More than anything, Jess ETA understands the importance of collaboration, explaining; “I have always known the benefits that meaningful collaborations can bring to a body of work and this project is no exception. Being an aspiring voice of Africa myself, it is only right that I find voices that further highlight our continent’s rich ability,”.
The first single, “Skata” was released into the world late last year-a classic Afrobeats tune with just a hint of the R&B sound that we have come to expect from Jess. The accompanying visual was shot by renowned director Imraan Christian, and brought Jess ETA back into the forefront of the emerging artist scene in Nigeria.
Even though the country appears to be shipping out a new star every other day, Jess is not discouraged and believes there is a space to carve out for himself. “First of all, there are over 200 million people in Nigeria alone…so it might seem saturated but it is quite a large market to carve a niche out of. That means that as long as I’m sincere with my music and I market it right, there are people who will absolutely love it and gravitate towards my brand,” he shares confidently.
Jess continued delivering magnificent visuals through the short film, for the focus track of the project, “Dangerous” (ft. Azanti). Directed by rising Nigerian creative Yaro, the story follows Jess and a love interest who has kidnapped him and stuffed him in the boot of her car. We see her drive through a stunning Lagos backdrop, ending with her building a fire-as Jess sits infront of it, tied up. The nod to the project title Playing With Fire is obvious, but the visual representation of the themes of the project are even more appreciated-chasing a love that sometimes hurts, and playing a dangerous game of emotions while trying to work it all out.
At the time of our interview, Jess ETA is in the middle of a tour of Abuja, Nigeria. The “Phoenix Tour” will see him visit numerous campuses in the region in the coming weeks, supported by acts like Brum3h, Psycho YP and Eken3. Going back to where it all started is important for him as he builds a fanbase that will take him from Abuja to the globe.
In our full interview below, Jess unpacks his growth as an artist, breaks down the making of Playing With Fire and drops some gems on appreciating where you are as you make your way to where you want to be.
This interview has been lightly edited for the purpose of clarity and context
Jade Kelly: Who is Jess ETA?
Jess ETA: I’m a recording artiste and record producer from Abuja, Nigeria.
The last time we spoke, you had just released your EP Balance. Do you feel like a lot of growth has happened since then or can people look forward to a similar experience with your new project?
The Balance EP was an entirely different point in my life and between that time and now, I have learned a lot about my craft. It’s only expected that there will be growth, of which the magnitude in this case truly can’t be overemphasized. To be fair, Playing With Fire is a sequel to Balance, and that connection just made sense on paper because of the shared plot/theme. It goes without saying that despite the obvious similarities between the two projects, Playing With Fire is leagues ahead of Balance in direction, planning, and execution.
Before we get into the making of your latest offering, Playing With Fire, talk me throughthe meaning behind that name.
The analogy with fire comes from the story in Greek mythology of Icarus and how he flew too close to the sun. I sorta examine the need to maintain a balance with the things that entice us. At the same time, it represents a new genesis and rebirth for my brand. Going through fire now describes the process of me going through an evolution. One that I have emerged from- reborn like a phoenix.
You seem to have joined forces with a wide range of artists across the continent on this tape. [Frya from Zimbabwe, Gemini Major from Malawi/SA as well as your fellow Nigerian peers in Brum3h, 3kene, Buju, Inci, Psycho YP and Azanti]. Why did you choose to do it this way, or is it something that just happened as the project was coming together?
I have always known the benefits that meaningful collaborations can bring to a body of work and this project is no exception. Being an aspiring voice of Africa myself, it is only right that I find voices that further highlight our continent’s rich ability. As I worked more on this release, I got various opportune moments to include these amazing acts. When it all came together, I looked at it and it was beautiful.
Do you have a favorite feature on the project?
I do not.
How long have you been working on Playing With Fire?
I started consciously compiling songs for a project from about February 2021 (shortly after I was announced as the winner of Afrochella/Audiomack rising star challenge) and even though it had a different name at that time, I knew I was in the process of curating what would eventually become Playing With Fire. Eventually, other songs like “Dangerous” and “Neon” became part of the discussion and these are songs I’ve had for over 2 years. Neon in particular was written in 2018.
I know that you are a producer and mixing engineer yourself. You have collaborated with some incredible fellow producers on Playing With Fire. What’s it like having to share the role with other producers, and how do you separate “Jess the artist” during the creative process?
It’s amazing working with other producers especially because they can bring different dimensions when it comes to ideas and it shows in the project itself. Let’s take “Neon” as an example, another producer suggested a chord progression that had a different color from my original idea. That single decision changed for the better the general feel of the song. As for my process, I simultaneously play the roles of artist and producer. Editing the beat to fit the vocals as well as the vocals to fit the beat.
You are currently in the middle of a tour of your hometown, Abuja. What is the significance of returning home as you continue to build your fanbase?
The entire Phoenix tour started as a friend of mine pointed out that I was busy in Lagos/Accra last December while I was yet to do something here in Abuja. This is the city I first started to embrace as my hometown while I was at the beginning of my professional career. It is a crucial moment because this is where I feel most comfortable as a creative and the tour is a chance to directly connect with the people that make up this community.
What can people look forward to on the Phoenix tour?
I’ve always been a stellar performer and this tour is a chance to showcase that live. At the same time, it is a part of a larger rollout that dares to expand people’s understanding of who I am and why I made this project in the first place.
Do you enjoy performing live?
There’s no place I’d rather be. Nothing more divine than singing the songs I wrote to comprehend my human condition and having other people not only sing along but sing with understanding. It makes me feel that my experiences aren’t for nothing and that the emotions that drive my creativity are truly valid.
What motivates you to keep going and carving out a lane for yourself in what is considered to be a very saturated market?
First of all, there are over 200 million people in Nigeria alone (sooo many more people on the rest of the continent) so it might seem saturated but it is quite a large market to carve a niche out of. That means that as long as I’m sincere with my music and I market it right, there are people who will absolutely love it and gravitate towards my brand. I make music for my own pleasure and the understanding that my people are out there even if they don’t know me yet means that I can continue to put out the music I create.
How would you describe your sound?
It’s not so easy to box. I claim R&B as a tag because the genre can be executed in many different ways and I have many facets to my sound that R&B lets me express. I also claim afro-fusion because I am African creative actively consuming and contributing to African culture so whatever I do is African music. It is a fusion because I don’t necessarily keep to any constraints on what standards are for creative direction.
What are some of the highlights for you while putting Playing With Fire together?
Going to South Africa was a major move. I shot the video for “Skata” there and it is such an amazing visual experience. I had a screening event for that song and it was another important moment in this journey. A more personal highlight would be the day I sat down and wrote the first short book for this project titled “Feathers & Wax.” It was a decision that really helped me condense my ideas for the project. It is available for free on the Flok App!
Rumor has it one of the songs from your project will be featured in an upcoming Nigerian Netflix Movie. Do you wanna talk to me about that?
Rumors are true. Shout out to the music supervisors doing great work. 2 of my songs were used in wonderful scenes for Glamor girls coming out on Netflix in late June. I’m really excited to get the sync and get my name out to people.
Looking at your rollout in the last few weeks, it appears as if all components live in the same world. How intentional was it for you to create a visual identity for this project?
The Phoenix trait of this rollout was specifically designed to clarify who I was designing myself to be and people’s understanding of that brand is reliant on my ability to communicate it. I spent hours reiterating where I stand to the entire team and that intentionality shines through in my visuals.
The visuals for your lead single, “Dangerous” (ft.Azanti) just dropped. What was it like behind the scenes?
Absolutely hectic! But you know what they say about good things not coming easy.
What do you hope that Playing With Fire does for your career?
I have no expectations. In the past, I have overestimated the future and that has prevented me from appreciating the realities and the effort it had taken me to get to specific points. As it stands, I am just enjoying the process and cherishing each moment that comes from the project. I know for a fact that I’m making progress so I don’t worry about it too much.
What advice do you have for someone who would like to get into music?
There is always something within your range of abilities. Even if you can’t run yet, you can at least walk so don’t overthink it. Just do it.
Describe Playing WIth Fire in 3 words
Hard! A! F!
What excites you about the future?
Everything. More people are beginning to appreciate my craft and it’s bringing more opportunities to me. I just want to put as much value as I can into the world before my time is up.
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