- Safiu Kehinde
Being specially tipped for greatness is one joy of every music artiste. Same is the case with upcoming Nigerian singer, PeterBril who was tipped to be the next Wizkid by legendary rapper, Mode 9, while working under another legendary music producer, Frenzy Naija. In this exclusive interview with NPO Reports, PeterBril shared his gradual rise to stardom.
Who is PeterBril?
My name is Jubril Ishola Mojeed. I got my stage name, Peter Bril from my baptismal name with the Bril coming from my surname. I started music while I was singing in the choir during my primary school days at Christ Apostolic Church in Imota, Ikorodu. I started going to the studio in 2009 with Simple G, may his soul rest in peace. He was the one that took me to the studio then.
We were actually a group of three. The first night, we were supposed to record our song, they told us we needed alcohol to sing. I told them I was not drinking alcohol but others did and both of them slept off. The producer told me, by 6am, your studio section is done. So, I had to just record the song, which made the group fall apart. We could no longer use the name we were using. So, I had to go solo. Then, I started music in 2009 while I was going to SS1. I studied at the Lagos State Model College, Igbookuta. So, from 2009 to 2025, I’ve been going on and off. But right now I’m back fully.
Do you see yourself going back into group collaboration based on your experience?
Based on my experience, I would rather remain solo than do normal features with other artists. I don’t want to go back to being in a group based on the experience I had. After I recorded then, the next day they woke up, they told them that I was the only one that was able to record and our studio section was closed. It brought some type of an enmity between us. So, for some time, we were not talking. They were on their own, I was on my own. They later went to the studio they recorded their own song saying their song is better than mine and all sorts of stuff. But I think I did show then and it was sold out. They could not do any show. Now, I don’t think I want to be in any group. I can only have a project collaboration on an EP or album with other artists.
How did you discover your talent?
I could sing while I was in JSS1. When I was in choir, I could just read from the book and then sing. When I was in JSS1, I was 12 years then. Whatever songs that came up then, the bangers and everything, I could not sing word for word. So, I always find my way to sing it and insert my own words to it and not sing it the exact way the artists sing it. People started telling me, go to the studio, go to the studio, and you can sing. I didn’t pay attention to all those stories. So, when I was 14, I just finished my junior secondary school, I went to the studio then.
What challenges did you face during the early years of your career?
After I discovered my talent then, I think the first struggle I had was the studio session from producers. Those producers were few then. We didn’t have these producers everywhere like it is now. I was not getting the actual production I needed. So, that was my first problem. Whenever I take it out, they’ll be like, “your song is cool but the beat is not.” That forced me to learn production from Frenzy Naija, the one that produced “If I Die for Dagrin,” “Break It” by P Square. He did so many notable jobs. Actually, my sister introduced me to him. So that was my first challenge.
Secondly, I won’t say it’s a challenge. But the first show I had then in Imota-Ikorodu, it was actually sold out. Then I just went off. And the hotel started looking for me. He was like the guy that came to do the show there and that sold out,I want to see this guy, I want this guy to come. The guy later got to get my contacts about two or a year later. I had another show again which was still sold out.
Then one of my issues was I got betrayed by the club owner. We would have agreed that okay “you are getting tickets at a particular price and people will come.” But when they come, the hotel owners will not give us the chance to start getting paid for the tickets. They will just open the door so that they can sell their drinks easily. That was one of the first issues I had that made me first pause from music because the only knowledge I had then was making money from shows which was actually working for me. Though I’ve never had profit, but I do get back my capital. Sometimes, my capital might be a little bit short of N3.000 thousand because most of my capital then was about N9,000 which my mother helped me with.
My Mom was part of the person that contributed to my first section which was when I was still in the group because we split the money between us then. The production was my major issue then because I was not in a haste to blow. I believe they have this process of procedure. I just wanted to do my own thing the best way I could then.
Also, my songs are unique and different from what we have out there, which is sort of challenging to me. Regardless, I’m still pushing my sound, great sounds out there. But trust me you can’t say Bril sounds like this or that artist. I’ve a couple of songs on my Hardrive and they are all fire.
What was your collaboration with Frenzy Naija like while learning music production from him?
I met Frenzy Naija through my sister. She introduced me to Frenzy; told him about my career and that I was interested in learning music production. So, when I met Frenzy, we started mixing and mastering. Along the line, I watched him produce. I actually loved his vibe. My experience with him was when we went to Lekki for a job at Admiralty Way. We went for a job where Ice Prince, Mr 2kay, and Mode 9 came for a video shoot, though I can’t remember the title of his song then.
When we were at the studio, Mode 9 met Frenzy with his hand on my shoulder while discussing. Then, he asked Frenzy who is this guy? Frenzy “he is my boy, my apprentice.” He said something that gave me one hope then. He said to me that “the way I placed my hand on this guy is the same way I placed my hand on Wizkid. The same feeling I felt when I placed my hand on Wizkid then is the same feeling I’m feeling with this guy.”
Then he said to him (Frenzy) that this guy is going to bring you back up Frenzy. He said that I’m going to be great if I know what I’m doing. So, they told me to play my beat and my song for them. Then, I never knew that when you are going out, you have to go with your flash drive or hard disc.
I didn’t go with it. They told me to play but I couldn’t. So they just laughed at me. That was one of the things I learnt that if you keep going, you will get where you are going. But at the same time, I kept going off and on which is one of the reasons why I think I’m still an upcoming today. But now I’m here to set the record straight. I don’t want to remain an upcoming artist or give up.
Do you look forward to joining a record label soon?
I’m open for partnership, more like joining a label that I still like joining at the same time. I’m open to joining a record label but a record label that has a proper structure; that knows what they are aiming at because I’m up to the task. Whatever they want from me. If I have a deal and they want five albums, 6 EPs, whatever they want, I’m up for it. That’s what I love doing. By God’s grace, it comes easy.
You mentioned working with record a label that has proper structure, does that mean there are some record labels without proper structure?
Yeah. In the industry, we’ve seen so many record labels. At the same time, I’m just glad I didn’t fall into any of them. Some record labels just come, maybe the CEO or the manager of the label will just happen to have some fund which may not even be enough to fund the artist’s career. He might, for instance, have N70 million with no structure, no plan. They just do the norms, take you to radio and TV interviews. After a year, they want to start getting a return on investment. By the time they see that is not coming quick, they dump the artist and get another artist immediately. This thing has its procedure. It has its own timing. Why I said they don’t have proper structure is that they want this quick solution. They want the artist to quickly blow. Although it is possible, but I believe in quick-enter-quick commot. But their time frame I can’t tell.
Some people are lucky to do two years, three years before they become successful. But most of these people don’t have that structure. They don’t have the management that is capable of running those things for them. Even some record labels don’t have management. It’s just the CEO with his brother. They get you to sign your life away. By the time they spend 20 to 30 million Naira and they see that nothing’s coming out, then they drop you and sign someone else. And you don’t have the opportunity to leave the label because you signed the five years, six years or whatever many years you signed.
Before I get into that partnership or sign into your label, I have to see your structure. I have to see your plans because I don’t want you to sign me and keep me.
As an upcoming artist, what is your take on the Nigerian music industry, especially the Afrobeats?
My take regarding this industry and Afrobeats to be specific is it’s actually a good thing the Nigeria industry is trying to create an image for themselves which is the Afrobeats. At the same time, I feel it’s on a hard mode because whatever artist that is coming, you want them to sound Afrobeats. Because he’s an African man or woman or Nigeria man or woman does not necessarily mean whatever song is doing has to be a full Afrobeats. Sometimes, you might just want to do something RnB. You don’t have to say yeah “I have to be Afrobeats” because I’m from Nigeria. Like Sade Adu, Tems is a Nigerian but she does not sound 100% Afrobeats. She does her thing.
I think one of the issues of the music industry specifically with the label is they want you to sound a specific way. So, they don’t let these artists get their freedom to do their arts. When you keep confining them in that box, they won’t be able to express themself. That’s when artists start getting blocked. They don’t have the inspiration to write, to sing because they’re expected to give a specific genre. But currently, the music industry is in hard mode to be honest with you. It’s not like how it used to be. At the same time, I’m not giving up. Giving up is not in my dictionary currently. Every industry has the bad side, the good side. We keep seeing it every day. But the more we see, the more we keep learning so when we get there, we don’t make the same mistakes some people might have already made. So, we have to learn from them.
What does the Future Hold for Afrobeats in the next 10-20 Years?
To me, the next five ten years is only going to get bigger than it is currently. At the same time, the rates we were moving before are slowing down a bit now. It was skyrocketing before. But now, I think we still need some work to do regarding Afrobeats. If we take the right steps and do everything accordingly, the way it should be done, we’ll have a great year. Things have changed. It’s not like it used to be 10 years ago. So, I feel 10 years to come, it’s going to get better than it is.
Which projects are you currently working on?
I have two singles released now titled ‘Pour Spit’ and ‘Press Am’. That’s two tracks. It can’t be called an EP or album. It was dropped on the 2nd of September this year. Then I also have an EP coming out after that which release date is yet to be determined.
What are your most memorable moments so far?
I have too many memorable experiences but I think one that happened recently is when I dropped a song titled Opue. Actually, I didn’t like the song initially. We just did it because we felt okay. Let’s just do this and see how it goes. We’re just experimenting. After I dropped the song, my Tiktok started growing up. I started getting followership from other top artists and comedians. They started calling me for shows. To be honest with you, this Opue song out of all the songs I’ve done, is a song that I do not like. But the song made me earn money from music, like getting cash for shows. People started calling me for shows. They pay me to attend their shows, birthday parties. It’s actually a nice one because I’ve been going to shows for free all my life.
Another one of them was when Frenzy made a song. He told me he wants me to be on the song that Ill Bliss was going to be on the song. I was like, wow! So me and this OG, one of the gods of rap, I’m going to be on the same track with him. Not even going directly or ask someone to feature the both of us on it. I’m still looking forward for the track to be released. So yeah, I feel honoured and blessed, all thanks to God and Frenzy.
Between Wizkid, Davido, and Burna Boy, who would you love to work with?
I love them all. I love their works, their dedication. I know they are not new here. They’ve been here for a period of time and they’ve been working consistently. I love that energy and dedication.
They are all my favourites to be honest. You know we are not living forever. We all have this limited time. Some are going to die at the age of 30, 40, 25, 50, or 70. So, why should I limit my enjoyment? Why should I limit myself to just listening to Davido and not listening to Wizkid? Why listen to Wizkid and not listen to Burna? Why can’t I enjoy listening to the three of them?
Why can’t I work with the three of them? I’m being more about life. Nobody is living here forever. Whatever artist that comes on, whatever artist that is there currently, they didn’t get there by chance. They worked themselves there. So, I don’t feel like I should now limit my enjoyment and say no, I want this specific person. I will love to work with the three of them.