In an industry that can get easily oversaturated, Benny Que has carved out a unique niche as a creative force, acting as songwriter, producer, and musical visionary. She’s actively blazing a new trail in the midst of the madness, building bridges between genres and crafting records that carry her unmissable mark. Her influence on records goes beyond technical talent; she is able to evoke emotions that align with the sonic experience she aims to create.
While some artists opt for flash and spectacle, what sets Benny Que apart is her quiet brilliance. She prefers to take the route more subtle, allowing her work to shine through and speak for itself. From trap beats that pulse with urgency to mellow, introspective soundscapes, her range as a creator is staggering. She has a catalogue stacked with great records, ranging from work with Queen Izzy to Mo’Gunz, as well as other artists within and outside the country, and this has positioned her as a key player both behind the scenes and in conversations about the future of Nigerian music.
The songwriter/producer extraordinaire is proof that some artists don’t need to shout to be heard. Now enjoying greater visibility, shr remains grounded with an awareness of how far she’s come but focused on what’s still ahead. In this interview, she opens up about her journey, the beauty of creating for others, and what the future holds.
This interview is lightly edited for clarity.
You’re enjoying some more visibility in your music career. Do you feel like the hard work is paying off?
Benny Que: Absolutely. I’ve learned that visibility is a byproduct of consistent action in this space. It’s been a long time coming — writing and producing several versions of songs at ungodly hours —and it’s gratifying to see that people are starting to notice. I’m grateful but it’s not about being celebrated, for me. It’s about seeing how the music I’ve helped shape connects with people. That’s when you know the work has really paid off—when someone hears a song and it feels like theirs.
Does the new attention feel uncomfortable for you?
It’s strange, I can’tt lie. I’ve always been the person behind the scenes, so stepping into the space where others can see me feels like I’m in the spotlight without rehearsing. But it’s normal to experience discomfort, it means growth, right? I think I’m learning to embrace it—learning to take up space. I want the work to shine, and if my name gets dragged into the light with it, then so be it.
When did you decide to get into music full time, writing and producing for others?
It wasn’t one of those movie moments. It was gradual. I’ve always loved music—I was the kid that sat with headphones on, rewinding sections of songs just to take the beats apart mentally and figure out how they were made. I started producing as a teenager, mostly for fun, and then I realized I could turn into something more substantial. Writing came naturally after that because words and music are two sides of the same coin. I took the leap into doing it full-time when I saw how much my work could bring other people’s stories to life.
How has the journey been so far? It seems like it gets overwhelming sometimes.
“Overwhelming” is understating it (laughs). There are days when it feels like my brain has 17 tabs open and none of them will close. But then there are moments of flow—where everything just clicks—and those make it all worth it. I’ve learned to lean into the chaos, the confusion, accepting those moments as part of the process. The journey’s been a mix of frustration, discovery, and joy. I wouldn’t trade it for anything.
What’s your favorite thing about writing music for others?
I just love the process of storytelling. When I write for someone else, I’m taking a dive into their perspective, their emotions. It’s like stepping into someone’s shoes for three minutes and trying to see the world in the way that they do. It’s beautiful to help an artist articulate feelings they might not have the words for. It’s like being a translator of emotions.
Would you make music of your own?
I get this question a lot actually, and the answer is “you’ll see”. I enjoy creating for others, but I won’t say “never” when it comes to my own music. I think there’s a time and space for everything, and when I feel ready to tell my own story, I’ll let the music speak for me.
2024 has been a good year for you with a series of achievements and great songs. What does 2025 hold for you?
It’s all about growth for me. 2025 is about pushing boundaries—collaborating with more artists, experimenting with sound, and stepping into new territories. I want to take my craft to a new level, to challenge myself to make music that surprises even me.
What’s your creative process like? How long does it take you to come up with records?
It varies. Some records come together in a matter of hours, almost like they were waiting to be made. Others require patience—like chiseling away at marble until the sculpture emerges. I prefer to start with a feeling or emotion, a single note or lyric, and build from there. The process is never linear, but I’ve learned to trust it.
Do you have any recording rituals?
I don’t know if it’s a ritual, but I know that I need to be by myself for a while. I have to sit in silence, clear my head, and let the ideas come naturally. A little incense sometimes—it sets a mood, makes the space feel sacred. And I always keep a notebook nearby. Sometimes it happens that the best ideas hit me when I’m away from the computer.
