Bevs is a music executive, A&R, stylist, and creative director who has built a career thriving on this versatility. She speaks to us about the many hats she wears, her love for music, and why building genuine connections will always outweigh chasing industry hype.

NoteS: You wear many hats: law, music, management, A&R. Where did all of this begin for you?

Bevs: I come from a home where my whole family is in the entertainment sector. I literally watched my mum work with a lot of people in the industry—They even used to act movies in our house, so I grew up around the entertainment scene and already knew what this game was about.

As for law, you know how the African parental sensibility is—you still have to go to school. It’s crazy for real, but people back then weren’t as opportuned as we are now to tap into this thing or even be taken seriously, and I wanted to be taken seriously. So I was like, how do I do what I want in a way that works for me but still feels professional? That’s what led me to study law—to specialize in entertainment law—so I could still be in the entertainment sector, do what I love, and also give my parents what they wanted.

NoteS: And music? When did that really start for you?

Bevs: I have always been a music head, my parents are so cool that they listened to every genre of music and it was a thing in my house to discover and discuss artist even within my siblings so music knowledge started from home and naturally I found my part and purpose as an A&R and started planning on how to achieve this career part, it was my last year in uni, and I thought, “How long will I wait to become an entertainment lawyer?” Because law is a process—a long one, with a lot of rules. So I figured I needed something that would balance that. I did some online courses on A&R, trying to learn on my own. Then I decided I was going to host a music camp. This was way back in 2022, and at the time, I don’t think anyone had ever hosted a music camp publicly—it was either some label thing or private. No one ever did it individually and open for all. That’s how it all started.

NoteS: That’s a bold move for someone just starting out.

Bevs: Yes. At that point, I didn’t even know what was going on—I didn’t have a plan. My intention was solely for an artist I was invested in, “yellw,” to mix with Lagos artists so he could get out there. But something at the back of my mind was telling me this was something special. I ran that camp for one week with my brothers (Yellw Family)—it was open for everyone even though i had schedules and everything handled in a professional way. Then, somehow big names started showing up. I knew then that I’d created a crazy buzz. All I needed to do was build on it.

NoteS: Would you say that music camp was the true kickoff for your career?

Bevs: Yes, that was the major starting point. I’m never taking that away—if I didn’t make that bold move, I’d probably still be chasing some big name for recognition. I built a community and I went on to release an album called “most def”, there were songs we made from the camp and that was an evidence of my hard work and an assurance I could do more and exceed if I stay on track and be consistent. 

NoteS: You’ve contributed to brands and companies like Bvckyvrd, Freeme Digital, VVS, Yellw Family and worked with talents such as Gilmore, GroovyMono, Juicy Jay, DJ Flo, FirstKlaz, and Mavo. Your creative direction and styling work have also been quite impressive. What’s it like juggling multiple roles—from Law, manager, A&R, and marketer to stylist and creative director? 

Bevs: Honestly, wearing multiple hats has been both intense and incredibly fulfilling. Each role feeds into the other in interesting ways — being a marketer sharpens my strategy, A&R keeps me close to the music, styling helps define artist image, and creative direction lets me tie all those elements into a cohesive visual and narrative experience.

Working with brands like Bvckyvrd, Freeme Digital, Yellw Family and VVS — and talents like GroovyMono, Gilmore, Juicy Jay, DJ Flo, Firstklaz and Mavo — has taught me the importance of balance. As a manager or A&R, you’re nurturing talent and making decisions that affect their growth. As a stylist and creative director, you’re building the world around them — how they’re seen, felt, and remembered. So it’s like being both the architect and the storyteller.

NoteS: Let’s talk about Mavo—one of the fastest-rising artists out of Nigeria right now. What’s your role with him?

Bevs: I co- manage Mavo and handle Marketing &  A&R for him.

NoteS: How did you discover him?

Bevs: I met him in 2023. It’s a crazy story. Nobody believed me when I kept talking about this artist. He started off just being a friend, like my youngin. ‘Wana’, his friend and producer introduced him to me, what he was really into was fashion, with a lot of youthful exuberance, so it was just vibes when we see, we even hung out in a club after street souk. 

NoteS: So, how did music enter the picture?

Bevs: After we knew each other for a while, he started buzzing like, “Yo, I’m a songwriter.” But at the time, I didn’t really catch on because I was doing law school. I didn’t take him seriously. But one thing about me—I like to see artists push themselves first. That’s what tells me they’re serious.

Later, he sent me a SoundCloud link, and I didn’t listen to it for like three days, haha. Not until I went on X and saw he posted a snippet of ‘Ukanigbe’. As soon as I heard that song, I quoted it and said, “Yo, check your DM.” I didn’t need anyone to tell me—once I heard that song, I knew he was a star. I told him right there that we had to drop a project. And he’s consistent, which is key. I knew his type of music needed consistency. Now, here we are.

NoteS: The buzz around Mavo is undeniable. How did you manage to build so much attention without label backing?

Bevs: If I tell you everything is organic, you won’t believe me. I haven’t spent a huge significant figure on Mavo yet. It’s crazy, but that’s the reality. Everything has been organic. We’ve been doing this since 2023—we never forced anyone to believe in us. It started off with I, Dera and Mavo in a group chat to having a community on WhatsApp with different groups— we built a structure and a team and a fan base from consistency and strategies. 

NoteS: We’ve all heard arguably the most popular song right now—Escaladizzy. How did that song come about?

Bevs: The first time I even heard ‘Escaladizzy’ was on TikTok! We didn’t plan to drop that song—it wasn’t even in the rollout. But someone from the team leaked the snippet.

NoteS: That’s wild. So this wasn’t even part of the original plan?

Bevs: Not at all. The next thing on our list was actually the ‘Guapanese remix’ and then the deluxe version of the ‘Kilometer’ project. 

NoteS: People sometimes label Mavo and other new artists as “alté.” What’s your take?

Bevs: I’ve always been a more strategic person than someone who cares about what the crowd is saying. If that’s what’s selling for him, then fine. I’ve been in conversations with a lot of music executives—everyone knows Mavo isn’t an alté artist. We’re not trying to box him in. He does Afrobeats, but in a way that hasn’t been heard before.

NoteS: I agree. His music is Afrobeats, but laced with slang, lingo, and wordplay.

Bevs: Exactly, that’s not a new thing to Afrobeat, Infact that’s the basis of afrobeat— lingo & slangs but I tell you for a fact nobody sounds or make music like Mavo, No one. 

NoteS: Mavo’s community is strong—real fan energy. What’s the secret to building that?

Bevs: Mavo has structure. We’re independent, and  we’ve registered our label already—Kilogbede Records. We have publishing and all necessaries that deems fit. We even have a WhatsApp community with a group chat of 600 fans who are active. Inside that community, there are groups for management, team, top- generals, and creative team —everything is community-driven. Anyone coming in to work with us will immediately see that.

NoteS: Twitter too—his fans are everywhere.

Bevs: True. Over 1,000 people are on a community called “Swago” and they have that attached to their names.

NoteS: As an A&R, how do you know when a song is the one?

Bevs: You just know. The sound in itself, That authenticity. And when you don’t, you have to be brutally honest.

NoteS: What’s your take on the flood of self-proclaimed A&Rs popping up?

Bevs: The thing about this industry is that everyone wants clout. I don’t care about clout. As much as I want people to know what I do, I’m not interested in clout. The work of an A&R isn’t even really talked about enough or accurately practiced in Nigeria —that’s why we get disrespected.

NoteS: As a woman in this male-dominated space, how has your experience been?

Bevs: What I can say is, Female managers or music executives definitely have it harder. You often have to have conversations with a lot of men in this space, and honestly, a lot of  men do not like that female domineering energy, most times you catch yourself tapping into an energy that your feminine side isn’t use to, but that’s what comes with the job and that’s my focus. Every other thing I charge it to the game.

With Mavo I have a co-manager, Dera—a guy who handles admin and finance, he is more in the business side of things and likes to keep a low profile, with him things are easier in terms of communication and the personal relationships he has with Mavo. He’s the one I had to talk to first about working with KILOGBEDE Records limited and after Mavo reached out to me. 

NoteS: Who’s someone you look up to?

Bevs: My mum. She was the first person to tell me to start posting about what I do, the largest support system. She supported the idea for the camp and came to the camp and cooked for everyone. She brought Faze to my primary school to perform. That should tell you where I get it from! 

NoteS: What’s next—for you?

Bevs: For me, the vision is to build a legacy. I want to be known as someone who played a part in this culture—in Afrobeats culture, in Nigeria’s music industry, in everything entertainment-related. So I am going to keep pushing and building. The next steps are ordained by God already.

 NoteS: Out of all these roles, which one feels most like you?

Bevs: Out of all the roles, I’d say creative direction is my favorite. It’s where I feel most expressive and collaborative. I love taking an idea—a song, a personality, a brand moment—and translating it into visuals, mood, and identity. That role allows me to bridge the artist’s vision with audience connection, and for me, that’s the most powerful part of the job.