TobySensey calls his new project a “catastrophic, beautiful mess.” For him, that phrase captures not only the music but the struggle that led to its release.

“It’s what it took to get there – everything,” he said. “There was a lot of difficulty behind it. It could not have even been here, but through everything, it came out beautiful. It’s a concrete rose.”

The EP, Reckless, threads through stages of emotion. There is grief, there is love, there is healing. Each track carries its own weight, yet together they form a narrative that reflects the artist’s path.

“I created the music as I went,” he said. “It was what came out when I heard those instrumentals, but the track list and the real-life story merge through the emotional stages. It’s part of the beauty of it.”

Though his sound is shaped by global influences, TobySensey points to Nigeria as the place where he truly found his voice.

“Being away, you can lose yourself, you know, in other places and other cultures, being among different lifestyles,” he said. “Returning home for me was regaining my confidence and identity, watching people that sound like me make music. At that point, I was in tune, and I knew that I could do anything I wanted. Afrobeats started taking off as well at the time, so it was a no-brainer for me to go for it.”

That return did not only inspire confidence. It grounded him in the fast-growing Afrofusion movement, where styles collide and genres blur.

“Exactly, it can,” he said when asked about the flexibility of Afrofusion. “That’s what I like about it, and that’s what I’m on. I’m here for every way it can be expressed. A variety of sounds to choose from is a blessing for me. I like the versatility.”

Not all of Reckless is explosive. The track “For You/With You” quiets the pace and carries a softness that feels more fragile than the songs around it.

“It was more difficult having the confidence to put it out,” he said. “I was already getting in a groove with my voice, so recording was straightforward. ‘For You/With You’ captured a breaking point in my life, and it reflects just that in the beautiful catastrophe that is Reckless.”

He draws on a wide set of influences, from hip-hop to R&B to pop. The names that marked him early include The Weeknd, Partynextdoor and Bryson Tiller.

“The Weeknd’s House of Balloons and Partynextdoor 1 hit me hard, the same with Bryson Tiller’s Trapsoul,” he said. “I was experimenting with African and trap drums on R&B beats. Those sounds were fresh. They were hitting. It exposed me to more possibilities and ways to go about it with the beats. This was just for RnB though. I was listening to other sounds as well.”

Much of his process begins in disorder. He admits chaos plays an important role in shaping his work.

“I love chaos in creativity, but it has to come with some kind of fine-tuning. For me, it has to make sense,” he said. “I use the boldness of chaos in the beginning stages of creativity to let out ideas and rough sketches, but then, I have to turn it off in finishing. Because at that point, it is not just for me. I have to communicate a message for the world to understand subconsciously, or otherwise. So, I take time to make things as clean as possible.”

Running his own label has added both freedom and pressure. For TobySensey, those two conditions now live side by side.

“There is both, and it’s tough, but I’m loving every minute of it,” he said. “Now, the work is part of my lifestyle. Happy, sad, depressed, tired, angry, hungry, whatever it is, I’m still going to do what I got to do. I’m blessed that I’ve got something to do, you know.”

When asked which song he would play first for someone new to his music, he did not hesitate.

“It definitely depends on who, but if I had one shot, I would go for my song ‘Wallahi,’” he said. “I rapped, I sang and I produced it. I think it would make almost anyone curious about what else I have to offer.”

Despite the wide range of emotion already captured in Reckless, TobySensey admits there is still one feeling he has not found the language for.

“I’m still trying to hack how to comfortably express hate,” he said. “I guess it’s not in my person like that. There are not a lot of things I actively hate, unless maybe in moments. I haven’t found the method in artistic freedom to let it out that works for me. I don’t know how to pour it out yet.”

For now, he continues building on the sound he has carved, one rooted in Afrofusion and shaped by chaos, discipline and honesty. Reckless may be messy, but it is also precise in its intent. It shows an artist still in motion, still searching, still finding new ways to express what words alone cannot hold.