Interview: Qing Madi Is Wearing Her Heart On Her Sleeves

When she broke through with her BNXN-featuring single, “Ole,” in 2023, Qing Madi announced herself as next in line to the throne of silky-toned vocalists who blurred the line between Afropop and R&B. Since then, the Benin-born singer has released her debut album, accrued millions of streams, and established herself at the highest level of African music. 

Her latest project, ‘Barely Legal,’ finds her at a very important moment in her career. Barely 20, she’s at the head of an anthemic tape that celebrates distinct eras of Afropop with some of those era’s biggest stars in tow. Whether it’s Flavour and Tiwa Savage on “Lady” or BNXN and Victony on”Come Slide,” Madi is engaging in conversations with different generations of stars without looking out of place. “It’s crazy because for me, I had this in my head first where it’s like, ‘Oh, these artists are going to eat on this record,’ she  says.”

This conversation has been edited for length and clarity.   

What’s the inspiration behind the title ‘Barely Legal’

For me, obviously, coming of age, I’m going to be 20 on July 1st, and I felt like this milestone of my life is very important because this is obviously the year that I turn an independent artist. This is also the year that I feel like I’ve been through the lowest of the lows in terms of, you know, court and a lot of issues. I’m just like, “Whoa, I am barely legal and I’ve seen so much [and] that’s insane.” So, for this project, it’s just my heart on my sleeve. I just felt like, you know what, I’m just going to put this as a documentation that even in years to come, I’ll come back and listen to ‘Barely Legal.’

What’s the symbolism of the artwork?

For the artwork, we were very particular. So the young lady who is obviously supposed to represent me, she was wearing a ballet costume, and I used to do ballet at her age. I think I started at her age and stopped when I was around 11 or 12. There was an innocence because I enjoyed ballet for the art itself.  So, it’s one part of my growth that I feel like it’s a milestone. I was like, “Oh, I think this was the happiest I’ve been, you know, till date.” I wanted to capture that particular moment in that child, you know, dressed up as me because she kind of looks like me. So, dressed up as me in the costume while I’m carrying her. I’m also faced towards the back because I want to make sure that this is a different version of me. This is a version of me that is singing in these songs that you’re hearing. So, it’s trying to capture both nostalgic moments together and it was just very intentional for my team and I to make sure that it was perfectly captured.

What was it like collaborating with Tiwa Savage and Flavour?

It’s an iconic record. I do think the last time I heard Tiwa Savage and Flavour on a record was like 10 years ago-ish. I don’t know if I’m being precise, I’m guestimating. They had this beautiful song, and I remember that I used to listen to it basically when I was in the village as well as in the city. I’m like, “Oh my God, this is so gorgeous. These are legends.” They fit the record so much because it’s such a culturally deep record that I’m like, “Oh my God, these two represent culture, they represent history because they’ve been in the game for a long time.” So I felt that as an opening track to this new era, that is such a great song.

How did “10 Over 10” come about?

This project was such a historically amazing moment to pull off because of “10 over 10.” In his verse, he quoted one of his old songs that was basically one of the biggest songs in Afrobeats. Having that nostalgia back is just like, “Oh my goodness, like this is all on my project.” I got the opportunity not just to be honored by these great artists, but to also have them vocally be needed for the records because I didn’t want the unnecessary, “Oh, just the big names.” I wanted it to also sonically make sense and they all fit so perfectly. He got to sing-sing because me and Wande are like AfroR&B artists and he’s one of my biggest inspirations as a Nigerian female. 

What was it like collaborating with BNXN and Victony?

BNXN is my brother. Whenever we come together to make a record, it’s definitely a hit. And this one is with another amazing artist, Victony, who I think is very alternative and definitely is the blend that was needed for the record to all come together. So, it was so hot to make the record and to see both of them record because I was in the studio for both their recording and just seeing how genius is created. It was just perfect.

How did you achieve so many collabs for this project?

It’s crazy because for me, I had this in my head first where it’s like, “Oh, these artists are going to eat on this record.” But then again, you must understand that they are  amazing international legends that not everybody can get on a record. So I’m thinking to myself, “What am I going to do? Like how do I get Tiwa, Flavour, Wande Coal, you know, the likes of Rotimi, Lojay, Ayra Starr, how do I get them on a record?” I’m just trying my best. I meet up with them and I’m like, “Oh, if they don’t sync with it, you know, then there’s nothing I can do.” But I hope that they do. So, I play songs for them. I use the little manipulation card, like, “Yo, I love you” type thing. Then, they’re like, “Ah,” you know, they love the record. They all sent in their verse so quickly. I was just like, “This is so meant to be.” It was effortless. It was as though I had a community and it was just like, “Wow, like I haven’t even been doing this for long enough to be able to have these amazing artists on this record.” It’s just like the music was bigger than me. So it was a thing of like, “Oh, we love the music,  we believe that we belong on this song” and that’s why we’re recording the verse. So, I think that’s why everyone was so on point because I could tell from the music that they fit and they could tell as well that they belong in it.

How did you make “Jowo?”

It’s a non-fighting record. Sometimes people always want to put their points out and make sure that they’re winning a case against someone else or their significant other. I feel like “Jowo” is the part where you get to in your life where you’re just like, “I just don’t want to be alone.” It’s one of those things where you both put your issues aside and you’re just like, “I don’t want to be alone.” It’s very vulnerable, it’s very real, and I think a lot of people have come to that point in their lives where they’re just like, “Yeah, I know this went wrong and that went wrong, but I just don’t want to be alone.” So I feel like “Jowo” is that part where you’re like, “I’m willing to fight for something that’s bigger than both of us.” 

Why did you end the album on “Adding Up?”

It’s such a great song. I definitely would never have thought of a better closing song because I feel like if you listen to “Adding Up,” you could also mistake it for the beginning. That is basically what I’m trying to represent, a new beginning. So, even the ending sounds like there’s something afterwards. I was just trying to be like, “Oh, ‘Lady’ is a fire intro, ‘Adding Up’ as an ending is so unexpected because you would expect a solemn record that’s just going to pull you in.” But “Adding Up” is like, oh, the ending is also fire. The ending is also an introduction. I was just trying to be a bit subliminal, you know, a little Kendrick Lamar in me. I had to bring in a little dancey-dance in it. It’s both vulnerable, you know, “Jowo” and “Adding Up.” That’s why they’re very close in arrangement because they’re almost telling the same story. I feel like “Jowo” is the part where you’re pleading and “Adding Up” is the part where maybe you get sick of it and you’re just like, I think I forgot who I was for a minute. Like even though I might be soft, but I’m not going to let you undermine me to the point where I also forget who I am. So I think that’s why the beat is the way it is and the message is the way that it is.

How are you enjoying your quiet victory against your ex-label?

I think the quiet victory was just being able to create music. Because I think that it’s been a struggle to create ever since I became independent and so much has been going on in my life  with the ex-label and the court cases and just being online and my fans expecting certain things from me. It felt very overwhelming as an independent artist because now I have to hold everything together with my team, my sister, of course. So, it’s a thing where I’m just like, “Oh my god, like what am I going to do in the studio?” So being able to record and tell my story and feel and just be honest and vulnerable on the microphone is definitely a silent win where I’m like, “Okay, I’m back.”

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