Quick Questions with DoTTi the Diety.

Okeowo Oladutun Alani, known by his stage name DoTTi the Diety, is a fast-rising Neo-Folk artist. You probably know him from his hit song “Forever Sweet.” Or winning the MTN Yellow Star Debut edition. He’s passionate about making music and isn’t bothered by being relatable. This only makes him more determined to explore folklore music.

This special edition of Quick Questions featuring DoTTi the Deity promises to be an exciting read. We talk about his music choices, his latest album, and more.

What’s the first thing you do, when you wake up in the morning?

I’m not proud of it, but pick up my phone.

What do you wish was the first thing you did instead?

I’m telling you, as honest as I can be . I wish I picked up my bible instead.

Your genre of music is categorized as folklore, particularly through indigenous music. How do you feel about that?

I feel like I’m doing something special, something that more people should be doing, but I don’t mind it. It’s like I’m carrying this on my back, and even with the backaches, I honestly still don’t mind. Hopefully, someone will come along someday to share this burden, but for now, I’m okay with it.

The Yoruba culture is very beautiful, and storytelling (Alo) is a natural part of it. It is very common.

I hope more people will come to appreciate this side of life soon, because it’s truly beautiful.

What is your creative process like?

I don’t have a fixed or routine process, it varies. Sometimes I have deadlines and have to rush, but that usually doesn’t work. It can take me weeks to finish one song, while other times, it only takes a few hours. Most of the time, I start the process in the studio, creating as I’m inspired. For instance, there was a time we had a flat tire on the Lagos-Ibadan expressway, and while waiting to fix it, a whole song came to me.

What led to your decision to pursue music as a career?

I initially thought I was choosing an easier path. In secondary school, I read a small 50-page book about passion, which defined it as something that comes naturally and suggested focusing on what you’re passionate about rather than money. At that time, I was struggling as a science student, and all I wanted to do was sing because it came naturally to me. That was when I decided to pursue music. Later, I realized that life and the music industry weren’t as easy as I had hoped, and I sometimes wished I had chosen a more stable profession. However, I’m glad I stuck with music. It’s paying off now, though it wasn’t always easy.

I read that you won the MTN Y’ello Star competition. How was that experience for you ?

Winning MTN Y’ello Star was a turning point for me. It came at a time when I needed encouragement and validation for my work. It felt like a timely push. Winning, especially the way I did on a TV show, surprised many people. It gave me the motivation to keep going and provided a financial cushion for five years, allowing me to focus entirely on my music.

What would you say is your favorite song you’ve ever made?

It’s hard to pick just one because my favorite changes over time. There’s something about writers and their most recent songs—they often become the favorites for a while. But once a song is recorded and released, that feeling can fade. It’s always difficult to answer this question because all my songs are like my babies; I love them all.

What song of yours do you wish people gave more attention to?

I‘m content with the fact that not everyone will vibe with my music the way mainstream audiences might. But those who do appreciate it notice the effort that goes into it. For example, “Similemi,” an interlude on “Madam Dearest Pt1,” resonates with a lot of people in ways I didn’t expect. I wished people will connect with it the way I intended, and seeing that play out was sensational. I loved the process and decisions that led to unique sound it carries. It feels special and different, like I’m on my own journey. So for now, “Similemi” is the one I’d like more attention on.

Following up on the previous question, I appreciate intros and believe they reflect creativity and attention to detail. Regarding “Hello Sister,” I’m curious about the song’s title. Who came up with “Balablu” and how was it woven into the sonic landscape?

I don’t want to take sole credit for it, it was a collaborative effort with the people I work with. When “Balablu” became a viral soundbite, I saw an opportunity to incorporate it into my music while preserving the memory of its origin. I aimed to present it in a fresh light that resonates with a broader audience, and I believe we achieved that goal.

There are two approaches to titling songs: one for search engine optimization purposes and the other as an art form in itself. In the sonic era dominated by the likes of Sunny Ade, Haruna Ishola, Ebenezer Obey, and Dele Abiodun, Yoruba folklore composers had a unique way of titling their songs. For instance, “Ijamba Motor to shele” translates to “The Motor Accident,” showcasing their descriptive and sometimes lengthy titles. Similarly, with “Ololufemi Owo,” I could have chosen “Ololufe,” but I wanted a title that resonated deeply.

Sometimes, a song’s title naturally suggests itself. For example, “Forever Sweet” initially had two titles—”Orekelewa,” which felt too ordinary, and “Sweet Valentine,” which limited its appeal to a specific season. “Forever Sweet” emerged as a timeless and universal choice, embodying a prophecy and enduring appeal that the song continues to embody till date.

What inspired your choice of featured artists?

Firstly, the goal was to find artists who would interpret the song and convey its message authentically. They needed to be known for sincere romantic songs and most importantly be in sync with Yoruba culture and folklore.

I’m forever grateful to Reminisce for “Big Shirt and Boxers.” He reached out wanting to support my work, which was a pivotal moment for me, and I still cherish that collaboration. When I visited him while working on “Madam Dearest pt 1 Album,” I played the songs, and he immediately connected with “Big Shirt and Boxers”—the rest is history.

Working with Simi was a long-time desire, and I’m thrilled we collaborated on “Forever Sweet.” Falz, an elder brother figure from our time together in songwriting camps, graciously contributed a beautiful verse on ‘Madam Dearest‘ after I expressed my wish to work with him.

Shoutout to Motolani Alake for recommending Wizard Chan for “Hello Sisi.” PC Lapez, an old friend, brought his Igbo highlife expertise to juxtapose with Yoruba highlife, adding depth to the “Be My Darkling” song.

Etuk Ibong, my brother from the music scene in Surulere, was a natural fit for “Balablu,” delivering an amazing trumpet performance. Bringing Vader the WildCard out of retirement for his alter ego “Samo Agbero” was a highlight, adding a unique flavor to the track.

Each selection was about finding artists who can authentically tell the story, and these collaborators did just that beautifully.

What stages or festivals do you dream of headlining?

Glastonbury has been a lifelong dream for me. I hope that one day the opportunity arises—it would truly be a dream come true.

Which Collaborations Do You look Forward to?

I look forward to working with Asa, Lagbaja, Beautiful Nubia, and Burna Boy. Internationally, I’ve always wondered what it would sound like to collaborate with Jacob Banks and John Legend.

What Words of Encouragement,would you give yourself if you were freshly starting out?

Keep doing what you’re doing; you are needed. People are starting to realize it, but they truly need you.

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