Toronto-based Nigerian singer-songwriter Sewa is clear about one thing: music didn’t just happen to her — it healed her. “It might sound cliché, but music saved my life,” she shares, recounting a difficult time in her younger years when she turned to the guitar for healing. What began as a distraction became a lifeline, and eventually, a calling. “Music means the world to me.”
Having spent the last six years honing her craft, both officially and otherwise, Sewa’s sound is distinct — deeply personal and emotive. She classifies her music as Afro-soul, sometimes Afropop, but jokes that she prefers to call it “Afro-dembreakmyheart.” The name is fitting — her songs are often based on real-life experiences, layered with a strong sense of emotional vulnerability.
One such moment of raw honesty came in her breakout track, Lagos Lovin’, a soulful anthem inspired by a real heartbreak in Nigeria’s fast-paced, chaotic cityscape. “There is one person who is the muse,” she admits with a laugh. The track’s beat was sent by Sevens, a producer and friend, after hearing some of her unreleased work. “The moment I heard the beat, I stopped playing it. I knew I couldn’t record in that moment — it was too beautiful to ruin.”
It took her nearly two months to revisit it. “I could tell the beat had so much potential. I didn’t want to mess it up.” The resulting song has resonated deeply, gaining traction across platforms and turning ears toward her.
But this isn’t Sewa’s first brush with greatness. A few years ago, she collaborated with The Cavemen, whom she describes as “good friends.” What started as a casual hangout turned into an impromptu jam session and eventually, a recorded track. “Kingsley started playing chords, I added my vocals, then Benjamin jumped in. It all came together so effortlessly. That was one of my favourite sessions ever.”
Earlier this year, another surreal milestone came when Sewa opened for the legendary Asa in Canada. “I still can’t believe it,” she beams. “Asa, who inspired me to learn guitar, played for me while I sang. It felt like she was backing me at my own show. That’s a memory I’ll cherish forever — not just in my career, but in my life.”
Sewa’s performance presence has grown over time, but not without effort. “I was very uncomfortable performing with a band in 2021. My friends helped me navigate that space.” Her stagecraft developed through countless open mics and free shows during her early days in Toronto. “I just showed up. Over time, I found my rhythm.” Today, her live shows radiate confidence, a reflection of the trust she now has in her music.
But the journey hasn’t been without cultural tensions. Sewa admits that while Nigeria is home, it wasn’t always a welcoming place for her sound. “Afrobeat is the standard back home; it’s what most people expect. I don’t do Afrobeat. I didn’t feel like I had a place there initially.” She credits pioneers like Asa, Brymo, Waje, and Beautiful Nubia for carving out the space she now occupies. “In Canada, people are more open to soul music. Add ‘Afro’ to it, and they’re even more intrigued.”
Aside from music, Sewa’s life and upbringing also shape her artistry. As the first child in a unique Nigerian household, she carries a strong sense of responsibility. “That energy translates to how I lead my band. I learned how to lead from having siblings,” she notes. Confidence, both a gift and a lesson, came from her mother. “She’s gorgeous and unapologetically confident. I got that from her.” She believes her insecurities contribute equally to her music. “Not feeling like I’m enough sometimes… it affects my music too, but in a beautiful way.”
Looking ahead, Sewa is preparing to release a new single titled Asiko on July 31, with an album slated for release in September or October. She describes it as a deeply personal body of work, one that continues her journey of healing, honesty, and soul.
To her fans and listeners, Sewa offers heartfelt gratitude. “I know my sound isn’t for everyone, so if you love it, thank you. I make music I want to be part of tomorrow, and it means so much that people are listening — really listening.”
