I'm very conscious that a music video is beyond just a promotional tool for a song. It takes a song to the next level and it gives a song a new life.
MNEK
I often make a joke of my parents, because I come from a Nigerian background and there's a stereotype in the Nigerian community that all of us are going to be doctors and lawyers, and that's just how it is. But upon reflection, my parents were always really supportive of me doing music.
I mean, London has shaped me as a person. My parents are Nigerian so I've had the luxury of blending different cultures together just through my everyday life.
I don't think there's been many chances for people to see a black, gay, pop experience and that's what I want to have with my shows moving forward.
There are so many amazing out, gay, black artists who are really great in their own fields, but they aren't necessarily trying to make pop music. I guess my thing is different because I am trying to be part of that world. But doing it my way.
The thing about Auto-Tune is it can't fix everyone. It only fixes pitch. Everything else - the emotion and the attack and the energy? That's what a singer is.
The Big Music Project gives young people access to producers, managers, set designers, artists and a load of other industry insiders who are at top of their game. It can be difficult to know where to start and this project gives young people who are passionate about music, knowledge and hands on experience.
For me, I've written and produced for pop singers, but, like, female pop - I love that. I think it's putting me in the game that I love girl pop. All my writing is inspired by it.
My real name is Uzoechi Emenike.
I had so much fun working with the queens on 'Drag Race U.K!'
A lot of dance producers aren't really musical, they don't care much about detail.
My visual medium is my videos, and I've got to feel as though I can put my truth in that.
There's always so much stuff to do. I work best when my diary just says 'MNEK, MNEK, MNEK.'
It's not that some songs are for radio and some songs aren't, I'm just making whatever I feel.
I naturally make commercial music: it's never been a calculated decision to make pop music. I'm a genuine pop music fan.
I'm from Nigerian descent, and the classic Nigerian mentality is 'Stay in school! You're going to be a doctor, you're going to be a lawyer.' That is what it is. Thankfully my parents knew my situation was different because I definitely didn't want to be a doctor, I definitely didn't want to be a lawyer.
I use Auto-Tune but it's not to mask anything. If you come to see me live, I can sing on the spot. Auto-tune is just for the recording. It keeps everything really precise.
I love Usher's 'Confessions.'
I think anyone can actually sing. It's the mindset. Singing is imitation.
I love writing and producing but I don't think a lot of people know my artist stuff.
I've waited for the day my debut album is released my entire life, so naturally I've designed it to be listened to from start to finish - so every song flows into each other in a way that tells a sonic story.
One of my first songs I ever got a decent cut on was with a songwriter out of Xenomania, called 'All Fired Up' for the Saturdays.
I don't feel pressure, I think there's fun to have. And I want to show that being gay and of color doesn't have to be a sob story all the time. It can actually be really jokes and empowering.
I understand, as an artist as well as a producer, the need for there to be mystery and surprise.
If I'm writing a tune with someone I'm making sure it's what they wanna say and it's articulating what they have to share.
I started out writing and producing as a way for me to get the confidence to put out my own record and to learn and to really be a student of the industry.
So the Madonna thing, I wrote a song with Diplo, she liked it, tweaked it and then made it her own and it became 'Hold Tight.'
They saw that it was a passion of mine from really young... My parents did a good job. They wanted me to win. They let me do all these things. If some old guy came to the house asking, 'I want your kid to sign a contract,' they were so open to it. Yeah, I credit them loads.
Music is so transient. You've just got to move with it.
I'm very thankful that I'm in a position where I'll never be without a session. I'll always have someone who will want to get in the studio with me, or there'll always be someone that I'll wanna get in the studio with.
I almost get quite scared talking about it. It's happened, obviously. I did meet Madonna and I did work with her.
I'm touching people, helping people, and I'm making music I love. I like to think a lot of other black queer artists feel that way too.
That's the cool thing that music can do: make you feel this or that way. That's all I've ever wanted to achieve - I'm a music guy, you know? That's my occupation.
One of my best friends is quite into rap, and I'm always being introduced to music by him.
I lost a lot of weight. No carbs for a good six or seven months. It was tough but I looked hot.
I think there's so many amazing LGBTQ artists, ranging from commercial to underground, that are influencing people at large.
I make pop music. I make music that is pretty commercial. But, at the same time, I'm a minority within a minority and it can be challenging. I feel validated about what I'm doing when I meet fellow black gay men or black gay women.
When I wrote 'Paradise,' it was going to be an interlude - like a segue from the song before. Then I just added more to it because everyone loved it.
Girls Generation, I love their Teddy Riley-produced track 'The Boys.'
I had to have experience, you know what I mean? Because I've been doing this since I was 14... I couldn't write about anything at 14. I had to live some life. I definitely lived some life.
I want more people to know who I am and I want to have the chance to tease my music a bit more.
When I first came out, I was wearing full-on traditional Nigerian wear. I got told by a lot of people that I should just tone it down. I only stopped when I realized there's only so many prints you can wear.
A lot of the time the K-pop fans are pleasant and enthusiastic and they really credit everyone who has been a part of their favorite artists' records.
I think the stereotypes many black men are put under, even in the entertainment world, can sometimes have a dark or negative undertone.
Having the opportunity to work with someone like Beyonce is definitely going to hopefully open a few doors.
I think that there's not always been queer person of color representation in pop and so I'm making the most of it because that is who I am.
I hated my early videos. I really did. I hated 'The Rhythm.' Hated it. It's not my vibe to have lot of white people jumping on trampolines.
The way Beyonce works, the song is a jigsaw piece and then she will piece various elements.
That's the thing about creating. When you create, you create your own thing, whatever that is. It's always going to seep through in whatever you do.
I'm not really into beer, but I like tequila shots.
