From Lagos to the UK: An Artist Who Refuses to Stay in One Lane

By Emmanuel Daraloye

Few producers are willing to leave the comfort of a successful sound to chase something new. For 2frank, that willingness has become one of the defining parts of his career. From producing Afropop and Afro rap records in Lagos to exploring UK house and Afro house after relocating to the UK, his journey has been built on growth and not just what he is familiar with.

His early work was rooted in the streets of Lagos. He became known for productions driven by heavy percussion, Afropop melodies and Afro rap records where he sometimes delivered the hook himself. Even then, his productions carried enough musicality to suggest he was thinking beyond making hit records. for example, speaking after the Detty December rave season in 2023, he explained what continues to drive him as a producer. According to him, it is “the desire to do the most with what you currently have or what you see in your environment.” That mindset has shaped every stage of his music career. he has continued to build his sound from his surroundings, whether in Lagos or in the UK Instead of waiting for perfect conditions and timing.

Moving to the UK did not change who he is as a producer. if anything, it has expanded his sound. Instead of abandoning Afropop, he began introducing elements of UK house music while keeping African percussion at the centre of his productions. The result is not simply another producer following the Afro house trend. His records still carry rhythms that feel connected to the street in Alimosho, Egbeda and other area in Lagos, making the transition sound natural instead of forced. One thing that stands out in 2frank’s production is his understanding of rhythm. His creative process begins with percussion before adding melodies. While that approach may appear simple, it reflects that his understanding that groove remains the foundation of African popular music from the time of the likes of Fela kuti, Sunny Ade and Ebenezer Obey other legends. His productions often sound full without becoming overcrowded, allowing just right amount of space for both vocals and instrumentation. One noticeable feature of his production is the restraint. He rarely allows the drums to overpower the record, choosing balance instead of volume. It is a production style that rewards repeated listening rather than instant excitement. One thing you quickly notice with 2frank’s production is that he hardly tries to do too much. The drums sit where they need to sit. Nothing is fighting for attention. Even after a few listens, you begin to hear little things you probably missed the first time. That patience is becoming part of his sound. Afrobeats is moving very fast. Everybody is looking for the next sound that will catch on TikTok. Listening to 2frank, you get the feeling he is less interested in chasing that moment. Sometimes that works in his favour. Sometimes it also means his music takes longer to find its audience.

That strength was evident on Soul, where he worked as producer and co-writer. The project released shortly before the end of 2023, the record gradually grew on his fan and found its audience in the street of Lagos, including clubs and bars during “Detty December” season. It was not the loudest party record of the season, but it proved that a well-produced song does not always need aggressive promotion to connect with listeners as some of his fan said “Gari o need promo”. The song also became popular because of the Yoruba lyric in the hook, “Dido loko, je kin mo to ba n horny.” Some listeners considered the lyric too direct or too sexual. Others simply accepted it for what it was, street music made for enjoyment and not just careful interpretation. In many parts of Lagos, where club records are judged more by vibe than by lyrical meaning, the line became an anthem. That moment also showed how music from the streets often creates conversations that polished pop records cannot. The debate around the lyric created attention for the record, but it also raises an important question. Should controversial lyrics become the biggest talking point of a song? In this case, the production deserves just as much recognition. The groove, arrangement and melody gave the record enough quality to remain relevant beyond the viral moment during the detty december.

His contribution to Balloranking’s Ghetto Gospel album further shows that his abilities go beyond just making drums. He handled the strings and all the drum arrangements while also playing piano on tracks one, two, three and five. On Dinah, he collaborated with Dwillsharmony, who played the saxophone. These contributions reveal a producer with strong musical knowledge and not just someone who solely and fully depends entirely on software and samples. It is this level of musicianship that separates producers from beat makers.

In an industry where voices over beat often receive all the attention, 2frank’s catalogue has shown his willingness to release instrumental records which then demonstrate his confidence in composition alone. That also show that he values music as an art form and not just as commercial entertainment. At the same time, versatility can become both a strength and a challenge. Moving between different genres like Afropop, Afro rap, house and Afro house highlights his creativity, it also creates the risk of listeners struggling to define where he wants to belong or his signature sound. The best producers leaves signatures that are recognized almost immediately hearing their work. Think Young Jonn, Don Jazzy, P.Priime, Sarz, Ozedikus or JAE5. As 2frank continues to grow internationally, developing a production style that is instantly identifiable will become just as important as experimenting with different genres.

His recent snippets of an upcoming Afropop collaboration with two new generation artists suggest he is still exploring new directions. That willingness to evolve should keep his music fresh, but every new release will also be judged against the consistency of his previous work. Perhaps the most impressive part of 2frank’s career is that he has remained connected to Lagos even after moving abroad, his productions continue to carry ands show musical influence of the street and the city that shaped him into what he has become today. Instead of replacing one identity with another, he is gradually finding a meeting point between cultures wherever he finds himself. Be it in Nigeria or the UK. 2frank’s career reflects steady artistic progression that is not about overnight success. What has been seen to be his greatest strength is the ability to combine technical musicianship with commercial production, this allows him to move comfortably between different genres without completely losing his roots. At the same time, his next stage will require him to build a clearer sonic identity that listeners can immediately recognize as his own.

His career reflects the journey of many Nigerian creatives who leave home but continue to carry their culture everywhere they go. 2frank is slowly building a catalogue that connects Lagos with the UK through rhythm, percussion, and honest musical expression. He is not just about what is trending. As he once said, “I feel like music is a language that doesn’t need much explaining. I want more people to listen. I want them to tell me how they feel about it.” Looking at his journey so far, He is now getting more attention. The challenge now is turning those audiences attention into a lasting legacy that reaches far beyond the street in Lagos, Africa and the UK.