Q: Can you tell us a bit about yourself and how your childhood impacted your musical direction?
A: My name is Uju, and I was born in Kaduna State, Nigeria, to middle-class working parents. My dad was an engineer in satellite communication and systems analysis, and my mom is an educator. I have two brothers, one older and one younger. Because of my dad’s job, he traveled the world, to the Us, Germany, and Canada, and whenever he returned from his trips, he’d bring back foreign cassettes of Christian children’s music. At the age of 6, I loved watching these videos and made sure I could sing all the songs word for word. It’s funny now that I realize sometimes I didn’t even understand the lyrics, but I made up my own. I think my dad noticed how much I enjoyed it, so he kept bringing more. That’s when I joined the children’s choir at church, and music became my whole world. I would even pick up books and sing the words instead of reading them. Music was the only time I truly felt free.
Q: Can you describe UJU’s musical style in three words?
A: If I had to describe my music in three words, they would be “ethereal, raw, and hypnotic.
Q: How do you stay connected with your fans, and what role do they play in shaping your musical journey?
A: I stay connected with my fans through my newsletter, which I’ve carefully built over the years. It offers exclusive insights into my creative process, behind-the-scenes moments, and early access to my work. I also share performances, raw studio sessions, and immersive visual storytelling on YouTube, while keeping things more focused on Instagram. Writing is a big part of my artistic process, and I love it—it’s my way of fully sharing my thoughts. But my connection with my audience goes beyond social media. My fans are more than listeners; they’re an extension of my art. Their energy, feedback, and interpretations shape my creative journey. When they share how a song made them feel or resonate with the emotions in my music, that’s what fuels me. Whether through live performances, personal DMs, or interactive Q&As, I ensure our connection remains authentic and evolving. At the core of it all, my music is a conversation. I create, they respond, and we build together.
Q: You have just released your new album, ‘Sovereign Witch’. Is there a story behind it?
A: This album is my story—pain, survival, transformation, and finally accepting every part of who I am. It starts with “Witch Hunt,” where I was punished just for being different. I was misunderstood, labeled, and cast out just because I saw the world differently. From there, I fought to reclaim my power. “The Alchemist” is me healing my younger self, reminding her that none of the pain she went through was her fault. “Friends with My Dark Side” is about making peace with the parts of me I once felt ashamed of. “Nocturnal Call” takes me back to my lowest point, standing in the rain, broken and exhausted, praying I could survive the night. But it’s not all darkness. “Aquarius” celebrates the fact that I’ve never fit in, and I never will. “Martian Mystic” is me dreaming of a place where I can exist freely. “Spell” is about the power of energy and how thoughts shape reality. “Far From Home” is about realizing I might not even be from here. “Karmic Allure” speaks to a desire that burns too hot to last. “Lunar Lullaby” is my love letter to the moon, the constant presence that has always made me feel seen.
Then, I break free. “Divine Ember” is my rebellion. I spent so long waiting for permission to create, but I don’t need it. I already have everything I need. “God of the Machines” is about how the world is changing, how technology is evolving beyond us. “Breaking These Walls” is about finally letting people in after years of keeping them out. And “Silk and Skin” is about love in its purest form. This album is a burning, a reckoning, a resurrection. If that makes me a witch, then so be it.
Q: What is your favorite track from the album and why?
A: My favorite track is “Witch Hunt.” When I first wrote it, the song was long, droning, and a bit all over the place. I remember sitting down with a friend who’s a writer, and we both agreed: “You’re the hunter now, so keep it simple and powerful.” We stripped it back, and I love how the energy turned out—it has this haunting, warning vibe. It’s a song for anyone who’s ever felt hunted or targeted. It’s my origin story, the moment I first embraced the name “witch” with pride.
Q: Can you walk us through the creative process of producing the album, “Sovereign Witch”?
A: Producing Sovereign Witch was incredibly challenging, and there were moments when I almost gave up. But I found strength in remembering the power of “Divine Embers.” It all started while I was vacationing in Croatia, lying on a ship at sunset. The sounds of the water and distant laughter created the perfect backdrop when a melody struck me. The lyrics, “stealing fire from the gods, illumination,” just came to me like a wave. At that moment, I realized I had to create this album, even though I was still unsure about how to approach it.
I reached out to several producers, but either they were too focused on the money, or they didn’t understand my vision. That’s when it clicked: I already had everything I needed to create this album myself. I had my Cubase Pro 10, a great mic (Audio-Technica AT2020), studio monitors, keyboards, and a quiet space. I had the tools, I had the time—I just needed to create. So, I did. I produced every song on the album, except for “Spells” and “Divine Embers,” which I co-produced with another producer. I ended up creating over 35 songs, and some didn’t make the cut, but they’ll be used in the future.
For inspiration, I leaned heavily on Cubase’s built-in plugins and listened to artists like
Labyrinth, Tanerelle, Aurora, Florence + The Machine, Sade, FKA Twigs, Arca, and
Svedaliza. I stripped the production of any perfectionism and let the raw energy of my
vocals shine. I used a lot of atmospheric elements, vocal chants, and synth bass, even
programming a unique sliding effect with Retrolouge.
I also collaborated with incredible musicians—a Ukrainian violinist on “God of the
Machine” and a Hungarian guitarist on “Martian Mystic.” Cari Cole my mentor and A&r expert offered her support and guidance through out the process of making this album. I also worked with talented artists like Mariami from the USA and Funckleff from Nigeria.
For recording, I wanted to capture the warm vocal quality I admired in Tanerelle’s music,
so I sought out studios with Neumann microphones. After trying several, I settled on
Supersize Studio and D.O Studio, where I recorded most of the album. I recorded a few
tracks at home.
Q: What has been the most memorable concert or performance for UJU so far?
A: While I’ve performed at a few concerts, none of them truly captured who I am—my true essence as a witch, a high priestess. Every performance up until now has been a stepping stone, a preparation for the moment that will define this next chapter. The most memorable concert for me is still to come: on April 4th, when I will perform my album live for the first time. It will be a full embodiment of my soul, my journey, and the transformation I’ve undergone. For the first time, I’ll step onto the stage as the person I’ve always been meant to be—unapologetically authentic, powerful, and mystical.
Q: Reflecting on your body of work, each song holding its unique significance, could you share a particular track that stands out to you personally? What makes that specific tune special, and why does it hold a place of pride in your musical journey?
A: “Far From Home” stands out to me on a deeply personal level. The song came to me in a dream during a time of intense self-discovery. While most of my songs are channeled, there’s something uniquely peaceful about this one. Every time I listen to it, I feel a sense of being understood, like my family—whether past or cosmic—is out there, watching over me, saying, “You are not alone. Peace, be still.” It’s a profoundly comforting feeling that makes this track especially meaningful to me.
Q: Exploring the diverse creative processes within the music industry is always fascinating. Could you provide insight into UJU’s unique approach to crafting music? From the initial spark of an idea to the finished song, how do you navigate the creative journey and bring its musical concepts to life?
A: My approach to crafting music is deeply intuitive. It starts with the melody. Sometimes, I could be cooking, cleaning, or even half-asleep when a melody just pops into my head. I rush to my phone and record it immediately. Once I have the melody, I build a base around it, playing with rhythm, chords, or layers until something clicks. After setting the musical foundation, I focus on the lyrics. That’s when the real storytelling begins. The melody sets the mood, and the lyrics flow from there, exploring emotions, experiences, and concepts. I bring in other writers when I feel stuck or want another perspective. The whole creative process is organic—a blend of intuition and experimentation. It’s a constant discovery of where the music wants to go and how best to shape it.
Q: As we wrap up our conversation, looking ahead, what aspirations or dreams do you have for UJU, and what message would you like to share with your fans as they continue to accompany you on this musical journey?
A: Reflecting on my artistic journey, I realize this album marks the end of a significant chapter for me. I used to think music was everything I would ever do, but I’ve come to see it’s just one piece of a bigger puzzle. This album is my rite of passage, a transformative experience. While music has always been my tool for expression and healing, it’s also been the gateway to something much bigger—growth, guidance, and transformation, for me and others.
Recently, I became a certified transformational astrologer, which has deeply influenced how I understand myself and my music. Astrology played a huge role in this album, helping me see myself from every angle. Everything is interconnected, and music is just one powerful element in this broader journey. Looking ahead, music will always be at the core of my work, but I’m stepping into a new role as a leader in transformation and self-mastery. Music will remain the number one tool for this transformation, but I’m expanding into guiding others to take ownership of their lives and step into their sovereignty.
As I lay the groundwork for my next album, I’m already envisioning it—elevated and transcendent. The lessons from this album have been invaluable, and I now see clearly where I’m headed. To my listeners: Your life can change. People can change. But it only happens when you take full ownership of your journey. Be your own sovereign, lead yourself, and only then can you create the life you truly envision.
