After years of managing artists, booking shows, and plugging records, Richard Smyth has found a new lane on the airwaves, and he’s determined to make radio fun again.

From the bustling nights of Lagos clubs to the high-pressure logistics of concerts and artist tours, Richard Smyth has spent more than a decade shaping the Nigerian music industry from behind the scenes. Known for his hustle, versatility, and the opportunities he’s created for artists and managers, Smyth has built a career on persistence and boldness. Now, after years of road management, bookings, and plugging, he has stepped into a new spotlight as an on-air personality. With his daily show, Scoop, on Spice FM, Smyth is determined to bring back the energy, personality, and excitement that first made radio irresistible. We sit down with him to discuss it all.

NoteS: You’ve been in the industry for well over a decade, but let’s go back to the start. How did your journey begin?

Richard Smyth: I unofficially started by throwing parties. Back in King’s College, from SS1 through SS3, I was known for organising events. That made me popular among my peers. The first time I got recognised was when I was nominated as one of the popular students in our set awards, and I hadn’t even known I was nominated. Later, I threw a party at Club 57, back when it was still called Bacchus. A few artists came, Ceeza Milli and Shadyee, and I got to meet their managers. That’s when it clicked: I could do events not just for friends, but for artists.

In 2010, I threw a party at Quilox. That’s where I met DJ Nana for the first time. I met her a few months after at a party on the mainland. She was the first female DJ I had ever seen, and I was fascinated. I told her I wanted to manage her. She already had a manager, Houdini, who had a 9-5 and didn’t really have time to move around, so he let me step in as her road manager. I worked with her for about two and a half years.

NoteS: From organising parties and working DJ Nana, how did you transition into working with artists?

Richard Smyth: Around 2009/2009, I bumped into Ceeza again. I saw him in a club and straight up told him I wanted to manage him. He said I was bold, but he put me through to his manager, Jesse Finesse. She was in the U.S, I was here. She asked what experience I had; I had none apart from parties, but she gave me a chance as Ceeza’s road manager. No pay, just to see what I could do. Within four or five months, I’d gotten him a bunch of club gigs and some shows. I ended up working with him for about two years as road manager, and later as his booking manager.

Through a connection, Ceeza eventually got signed to Aristokrat Records, and I was part of making that happen. That was one of my early milestones.

After Ceeza, I linked with Kamal Ajiboye when he was managing Davido. I worked on Davido’s logistics for club performances, security, sound, and setups. Later, Kamal moved me to Seyi Shay, where I was her road manager from 2017 to 2021. I’ve worked with Ric Hassani, Reekado Banks, Small Doctor, Mr. Real, AV, and more. Sometimes it was bookings, plugging songs to radio and TV, sometimes tour management.

NoteS: You’ve been in so many roles, promoter, road manager, booking agent. But eventually, you stepped back from being on the road. Why?

Richard Smyth: Two reasons: exhaustion and growth. Being a road manager is very stressful; you’re in charge of logistics, itineraries, day-to-day artist movements, basically everywhere the artist needs to be. I did it for about seven years. At some point, I realised I was spending more time in studios than on the road, learning how music was created and the business side of things. I became more interested in A&R and consulting. That allowed me to stay involved without the nonstop physical grind. Plus, I’m in my 30s now, so I can’t be jumping up and down with artists like before.

NoteS: So you shifted into A&R. What does your work there involve?

Richard Smyth: Around 2020, I joined Engage, teaming up with Bugwu Aneto-Okeke, CEO of MAD Solutions. They asked me to come in as an A&R. I helped sign two artists, Garvici and Troms, and became Head of A&R and Talent Research. My role is to find talent, sign them, and guide them. It’s been two years, and it’s less about running around, more about structure and building careers.

NoteS: You’ve recently added a new dimension to your career: Radio. How did that opportunity come about?

Richard Smyth: I was having a conversation with Uche, who works at Engage/MAD Solutions, about starting a podcast. He said I needed credibility first and suggested radio. Right there, he called Sheye Banks. They asked me to send a voice note demo. I did, not taking it seriously, but they liked it. I later went to Sound City Studios, met Mr. Taj (the owner of Sound City), sent him a voiceover, and he offered me a role.

After about five months of training, I officially started as an OAP on Spice FM, part of Group 8 (which owns Sound City, Urban 96 FM, Correct FM, etc.). My show is called Scoop, it runs 10 a.m.–12 noon daily, and it’s entertainment-focused, covering music and industry updates.

NoteS: And what’s your vision there?

Richard Smyth: To make radio fun again. Radio used to be exciting; now it’s just playlists and ads. I want to bring back the energy, the interactive feel, almost like a podcast. I’m unfiltered by nature, so I’m trying to put that personality into radio while still keeping it professional.

 NoteS: Let’s talk about achievements. You’ve mentioned many artists and projects, but what are the standout things you’ve done over the years?

Richard Smyth: Getting Ceeza Milli signed to Aristokrat was one. I also helped structure Omo Better Concert with Small Doctor in 2018, and organised Reekado’s first Trace Live. I’ve booked artists for Livespot, including the Cardi B concert, where I handled bookings and assistant stage management. That meant securing artist fees, curating stage timelines, and handling logistics.

I’ve also been involved with Bubuland, which I linked to Livespot, and it became a sold-out event. But honestly, I don’t chase recognition. I just want results and money. Respect comes when the work speaks for itself.

NoteS: You’ve had your hands in management, bookings, plugging, and now A&R. Did you get formal training or just pick things up along the way?

Richard Smyth: Everything was on the job. I started by just knowing how to gather people for parties. From there, I learned logistics, negotiating deals, drafting proposals, and managing contracts. My mom is a barrister, so I’d often ask her about contracts and negotiations. That helped sharpen my skills. The first contract I ever wrote was rubbish; she corrected it for me. Over time, I developed the ability to negotiate with brands, structure artist careers, and handle deals.

The truth is, in this industry, passion comes first. The first six years I worked, I didn’t make a single kobo. I survived on allowances from my mom or returns from parties. Money only started coming in properly years later.

NoteS: Earlier, you mentioned how bold you were starting. Since people once took chances on you, are you now looking to mentor or support younger people in the industry?

Richard Smyth: To be honest, nobody really gave me a chance; I had to impose myself. Even in clubs, I was rejected until I proved myself by throwing parties. Same with labels and companies. But yes, I’ve plugged many young guys into the industry, whether as promoters, managers, or with artist opportunities. Some of my close people even say Richard Smyth has zero goals but leads the game with assists. I may not be as big as the major names, but I’ve opened doors for a lot of people.

Richard Smyth’s forays reflect the constant reinvention it takes to stay relevant in the entertainment industry. Now, as he settles into his role on Scoop at Spice FM, he’s proving that his story is still being written, this time with his voice leading the conversation.