“It’s just how I was feeling. A new year, fresh energy. I grew up watching Nigerian football — Okocha, Kanu, Taribo, Celestine — all these guys had speed. Speed makes me move. You can pause but never stop.”

“‘Heavy, Why?’ is lyrically light and instrumentally heavy—a cryptic reflection on disembodiment, asking simply: why is it so agonizing to be turned away from the self?”

“I’ve never experienced anything like it. They were chatting through my set — some of it was actually quite funny — but it sent me somewhere else entirely.”

“‘War Crimes’ feels like the first real protest song I’ve ever written — an evolution of my sound. It’s an ode to those who feel betrayed by a Labour government that’s drifted right under Keir Starmer. Watching the genocide unfold and seeing our leaders enable it left me feeling helpless — this song channels that emotion.”

“‘Medical Emergency’ was born after a life-altering breakup left me in A&E with actual heart problems. My coping mechanism has always been leaning into fantasy and comedy during dark times. The character in the song thinks all the nurses fancy them—it’s ridiculous, delusional, and fun.”

“‘Harta’ means ‘fed up’. It’s about leaving behind the noise and reclaiming your power — because walking away isn’t giving up, it’s freedom.”

“‘We’ll Always Have Paris 1919’ is a dedication to my favourite love bomber. It’s part romance, part clear-eyed realism – that mix of affection, spite, and catharsis that comes with distance from heartbreak.”

“It’s a nod to the mystery of where we come from and who we are. I wanted the record to start with the first breath of darkness into morning light… the old world into the new.”

“I was once in a relationship where my partner made me feel like I was too soft or not masculine enough. Masculine-presenting non-men are often expected to act within the negative stereotypes of cis-men—emotionless, angry, aggressive—but that shouldn’t be expected of anyone.”

“If you break my heart, I’ll break your Jordans”.

“‘Far Away’ is about getting older and realizing I know much less than I thought I did. When I was younger, I believed my experiences had taught me everything I needed to know. Now, I’m much less convinced I know anything at all.”

“This EP feels like everything I felt all at once — the adrenaline, guilt, and loneliness that come with change. I’m really proud of it. This has been the most exciting and rewarding year of my life so far.”

“Honey, I’m Home is just my raw feelings — unfiltered. Some songs are so honest I thought, ‘this can never come out’. If you’ve dated me or hurt me, there’s probably a track about you. These are my secrets.”

“I’m a child again, riding in the back of a car. A hole in the roadside beckons me to enter. I slip away like condensation into a pastel world where dolphins swim through turquoise streams and fruit trees twist in bonsai proportions. Then I realize I’ve been left behind.”

“When I was little, I wasn’t afraid to get angry. Now I’ve had to relearn getting mad, and reconnect with indignation.”

“It feels like it sits between me and my ma’s chapters in life… She could sing it, and so can I, and we both understand it from different angles.”

“Streetcar explores the discomfort of admitting what you’re not supposed to want. It’s about fantasizing about infidelity, the guilt that shadows those thoughts, and wrestling with what that means when you love someone.”

“One summer at my grandparents’ house, we found a stray piglet on the road. Babe was my favourite film, and I had begged for a piglet that year. My grandpa, known for his practical jokes, might have orchestrated it—or maybe it was fate. They never made a third Babe film, but we lived it.”

“The song came from that feeling of trying to connect with someone who was always just out of reach. Mike and I even layered in the sound of a New Zealand busy tone as a kind of sonic metaphor. It’s funny and devastating at the same time.”

“The ick isn’t just a feeling—it’s a deep, existential betrayal. It’s realizing they’re not the flawless masterpiece you invented in your head, but rather a person who says ‘boys will be boys’ unironically. There’s no recovering from it, so we figured we might as well write a song about it. Call it a public service.”