Tiwa Savage recently opened up about her journey to securing a deal with Mavin Records in 2012—and how persistence and a little boldness made all the difference.
She recalled how her early attempts to join Mo’Hits Records didn’t pan out, even though she had already collaborated with some of its artists. But when Don Jazzy launched Mavin, Tiwa wasn’t afraid to ask again.
“I went back and said, ‘Please, sign me.’ I didn’t care about being shameless,” she shared during a candid chat on Afrobeats Intelligence. “And he just said yes—just like that.”
Before that breakthrough moment, Tiwa had already been turned down by nearly every major label in Nigeria. Despite her talent and image, they couldn’t see the blend of R&B and Afrobeats working.
“I’d left everything behind in L.A.—sold my car, gave up my apartment—and told everyone I was going back to Africa to chase this dream. I couldn’t turn back,” she said.
Her big introduction came with Kele Kele Love, but it was Love Me that truly put her on the map. “That was when I knew I could really do this,” she said.
Finding a Home in Mavin
Looking back, Tiwa said joining Mavin didn’t just shape her musically—it gave her space to grow emotionally and professionally.
“It felt like family,” she said. “If I was struggling, I’d run into Jazzy’s room. Everyone—Sid, Reekado, Tega—we’d sit, talk, cry it out. Not many labels care that much about your life beyond the music.”
She also spoke on the deeper lesson she learned later: choosing the right label can make or break an artist.
“You don’t realise how important that is until you’re on the outside,” she said. “Some labels just see numbers. Once the hits stop, you’re done.”
In 2019, she became the first Nigerian female artist to sign a global deal with Universal Music Group. Don Jazzy called their seven-year journey together “epic.”
Why Her Son Won’t Follow Her Footsteps
During the pandemic, Tiwa found herself caught between her studio sessions and her role as a mother. She had a home studio—but work often blurred into personal time.
“I’d be there all night, not even recording—just watching things—and I realised I was missing time with my son,” she said. “That wasn’t the life I wanted.”
Though he sometimes sings along while she works, she’s firm on one thing: she doesn’t want him in the music business.
“I’ve seen what this industry can do. Some parents push their kids into it even when they don’t have the talent. I won’t do that. He deserves to choose his own path,” she said.
She also explained why she hasn’t signed any artists under her own wing.
“My heart wouldn’t survive it. The success rate is low. Even when you get a hit, staying relevant for a decade is brutal. It’s mentally draining.”
Still Fighting Gender Bias
Despite Afrobeats’ global rise, Tiwa noted how male artists still dominate the spotlight—and how women often face a double standard.
“I hate the phrase ‘for a woman’—like it’s a compliment. I don’t want to be the token girl on a lineup. I want to be there because I’m the best,” she said. “It’s exhausting that I’m still having this fight after all these years.”
She also addressed the pushback she faced over her appearance in the Wanted music video. At the time, the public questioned her desirability and place in the industry.
“There was this talk that I wasn’t sexy anymore because I was married. So, I did something bold—not just to be sexy, but to challenge that label,” she explained.
She credited her former partner, Tunji “TJ” Balogun, with steering her toward a new look. “He told me to lose weight, start grooming, wear wigs. He had a vision of creating an ‘African Rihanna or Beyoncé.’ I didn’t expect the backlash, but we went for it.”
Late Start, Lasting Impact
While most artists begin young, Tiwa’s first single came out in her thirties—something she believes gave her an edge.
“I had studied music. I knew how contracts worked—what ‘in perpetuity’ meant, or ‘first right of refusal.’ That knowledge helped me protect myself.”
As for staying relevant in a fast-moving industry, she credits risk-taking and accountability.
“I’m working on something risky now. It might flop, but I always take responsibility. I don’t let failure define me—I learn and keep going.”
She also shared her excitement about Afrobeats going global but expressed concern about how it’s being shaped.
“I love how big our sound is getting, but I want us to stay in control of our own narrative,” she said. “Other genres—like reggae—have a clear identity. We’re still figuring that out for ourselves.”
