For as long as it’s been around, the city of Chicago has been teeming with some of the hottest talent in the country. There’s no doubt that the windy city sound is very unique; unfortunately, so many of its great artists go unheard.
One of those unheard artists is Nigerian rapper, WemmyMo. Before he was WemmyMo, Oluwawemimo Hassan was a Chicago kid with a dream. As such, being from Chicago, the possibility of Hassan having to deal with violence, at some point in his life, was high; and, at the tender age of 16, it became a reality. As a young man, Hassan always made sure to keep himself out of gangs as well as gun violence. Unfortunately, in Chicago, it often feels as if violence is impossible to escape.
In his January 2020 interview with the Chicago Reader, he’s quoted as saying: “I was never into the streets like that, and people knew that. It was a case of being with the wrong people in the wrong place at the wrong time. It was really that life-endangering experience that really made me sit back and reevaluate the company I keep.” Since then, WemmyMo has kept a tight circle, keeping only those close to him involved in his life.
When I sat down to do an interview with him, I was unsure of what to expect; within the first few minutes, I was amazed. He played his “Love Docta” track, and I was floored. He got me back in touch with a particular Chicago sound that’s seriously been missing from mainstream music—I was so intrigued.
AUDIBLWAV: How did it feel to interview with the Chicago Reader?
WemmyMo: Everywhere you go, motherfuckers see your face! I made a whole campaign behind it. That same day, I had a show, and, before the show, I wanted to bring a bunch of newspapers with me to pass out (unfortunately, I forgot to do that). We just had sound check, and I was thinking: “Hey let me hurry up and get newspapers across the street.” Come to find out, in the entry of the venue, the newspapers were all stacked on the floor because they gave some to the venue. To see my face EVERYWHERE was raw as fuck!
How have you kept that momentum going from your Chicago Reader interview?
Based on the current context of the world, especially when it comes to doing shows and everything music related, it’s kinda dead (the transition from January to July has been a long, long, long one). Outside of music, I definitely used it as an opportunity not only to get well with myself but damn near repackage the music I’ve been doing!
I was supposed to drop my project in February, but with everything that we’ve been through, there’s so much more to talk about. Since being in quarantine, we all learned that we’ve been listening to the same shit—you know what I’m saying? We now have so much more time with the music; and, every song coming out is just a bunch of fatass 808s—niggas not talking about shit, for real. Long story short, motherfuckers really have the opportunity to get nice with the pen, and have the world stop and pause so you can get right with yourself in all avenues.
Now that you’ve gotten right with yourself, have you seen it reflected in your music?
Without a doubt. I haven’t been in the studio as much as I would like due to the shutdown, but I’ve been setting up sessions here and there (just to get back on my feet with it). I definitely feel like I’ve been experimenting and having more confidence even when I sing. I’m just getting really comfortable with my voice as well as all of the aspects and skills that I need in order to become a better artist.
With COVID-19 forcing us inside, how has your music transitioned at home? Have you been trying to set up home studios and create from home?
That’s definitely the vibe I’ve been on. I feel like, when it comes down to it, the only way you can’t be disappointed with shit is if you own it. Ownership is the answer. With this music shit, you depend on so many people for so many things (the videographer, the graphic designer, the producer, etc.). If I can teach myself how to do all of these things, I will only get better at what I do and get exactly what I want.
I also want to be extremely savvy with multiple things; music is not the only thing I want to do. For me, music is just the poster child representing my entrance into fame, power, or whatever you want to call it—there are so many other things I want to do outside of music. Things tend to play together and hand-in-hand. For example, I started playing the drums with my left hand and now dribble a basketball with the same hand. I damn near taught myself how to be ambidextrous! If I put this rapping shit away (for a little bit) and get into graphic design, that could help me with designing furniture—you know what I’m saying? If I learn all of these skills, I’ll be able to use them in multiple ways. I don’t want to limit myself.
As I continued to talk with WemmyMo, I commended him for bringing back new life into the “typical” Chicago sound. We talked about a specific sound that was popularized by artists such as Chance the Rapper, and how WemmyMo helped to flesh out that sound.
WemmyMo: I appreciate you saying that. Man, you know what’s so crazy, at times, it’s just so much easier to conform to what everyone else is doing. Yet, you can’t fit all sizes when you’re custom made. When you come from that cloth of individuality and try to express it in your music, it gets really discouring for the artist if people are not familiar with it and can’t digest it as quick. It makes you feel like: “Damn, I really gotta sell my soul for this shit!” Thing is, it’s not that they’re actually selling their souls, they’re going against their integrity.
Hearing your comment really motivates and reminds me that “you’re doing this for a reason.” I know there’s people out there who really appreciate me and this is helping to pave my longevity because I’m building the building blocks vs. somebody who just pops off overnight. They’ll pop off without any foundation to build on.
I’m the type of person who’s in it for the impact! I would always appreciate the numbers, but it hits different when you leave an impact on somebody (as opposed to stats that really can’t signify the influence you have). I live for that shit! I always try to remember why I’m doing what I’m doing and the importance of being who I am.
As our conversation continued, we talked about the idea of getting discouraged with your craft, and how easy it is to lose motivation when those around you get the exposure you want.
WemmyMo: After awhile, you get older. In the beginning, I started rapping my sophomore year of high school. During that time in your life, you’re free—you’re a kid living under your mother’s roof. What you’re doing is a hobby that you hope one day turns into a livelihood. The older you get, it’s more like: “Damn, I’ve been doing the same shit for a minute and it doesn’t seem like things are going as fast as I want them to, I think I’m going to go another route.” That’s ultimately the avenue that’s going to create a legend. Instead of conforming and selling your soul, it’s better to create your own path.
I see myself more as an artist than a rapper. I’m Nigerian, bro—I haven’t even touched afrobeat yet! There’s a lot of things in my fatass leather coat that you haven’t seen. That’s why when it comes to artists, you have to understand how important it is to set yourself apart. You have to be your own creative individual.
You recently released a music video for your song “Moppas and Choppas,” can you dive into the song and video a bit?
WemmyMo: The song features D2X, an up-and-coming artist out of Chicago, and was produced by an up-and-coming producer by the name of DJ Baylor—he’s super hard. I recorded this track in the winter of 2019. The title of my next mixtape is 002; it’s the first single off the project where I’m talking about the people I’ve lost, while giving y’all a glimpse into what the tape is about. It’s like a little intro track.
Following the release of your music video and other projects, how do you plan on continuing that momentum and ensuring your longevity as an artist?
I feel like the most important part of my artistry, the thing that will really guarantee longevity, is having a core fanbase. More so, following where and when they see you, how they see themselves, and where you’re a reflection of what they can be. Ultimately, that’s what being a celebrity is—that’s why they’re held in such a high regard: because these are the people that did it.
But, I’m not a person of perfection. I’m a human being, and we all fuck up. I just want to have a fanbase that understands my music and who I am as a human. That’s what I really want to knack on, especially this year. With everything that’s going on, I’m even finding out how to do that on my phone from home. Shows probably aren’t coming back until 2021; I want to get in my business marketing bag and figure out other ways I can connect and still accomplish that end goal.
Thus far, WemmyMo has definitely had a productive year: he landed the front cover of the Chicago Reader (back in January) and continues to perfect his artistry, each day. If you want to get into some of his music, make sure to check out the new music video for his “Moppas and Choppas” track as well as his Bittersweet project.
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