The players who work in Africa’s creative space continue to demonstrate their worth despite the shadow they face. The continent is being shaped by individuals who understand both the weight of the culture and the mechanics behind it. Now, we are seeing people build, innovate and reshape systems from the inside out. While some institutions are doing their due, individuals are also pushing boundaries, creating tools, and bridging the gaps between art, business, and technology. The continent’s creative future and all its potential are already under construction by those bold enough to lead. Kolapo Oladapo is one of those leaders.
For over a decade, Kolapo Oladapo has been at the intersection of tech, business, and the creative arts. A lawyer, UX designer, project manager, and music marketing strategist, Kolapo wears many hats. His work spans companies like Apple’s Platoon, AUX Africa, and Clout Africa. He’s spoken on TEDx stages, developed tools like Arroweye Pro, and hosted culture-shaping conversations through the Cold Mineral podcast.
These are certainly some top pile achievements but behind all these is someone who simply wants things to work better for artists, teams, and the creative space at large. He builds tools that make the hard parts of creative work easier. He shares what he learns and mentors. And he believes that African artists do not just need talent, they need systems that support them, from the ground up.
As a Grammy U mentor and Recording Academy member, Kolapo continues to push for global visibility for African creatives, while also helping them scale their ideas at home.
In this interview, Kolapo talks about navigating multiple industries, leveraging data, building revenue streams, how we can build better paths for creatives across the continent and why community is still the most powerful currency.
GM: You wear many hats juggling between a lawyer, UX designer, and business developer. How did you find your way into music marketing?
Kolapo Oladapo : All the skills I’ve developed over the years in design, code, and content have been about finding the best way to express my ideas. Music has always been at the core of what I do, which makes it the perfect avenue to channel my creativity and expertise. The music business has consistently pioneered new technology and shaped consumer behavior, creating a powerful intersection between two of my biggest interests. It was a clear choice.
GM: How do your legal and UX backgrounds shape your approach to brand and music strategy?
Kolapo Oladapo : Both law and user experience design require a deep understanding of subject matter, context, and scenario. These are key components for unlocking value in strategy. The skills I’ve gained from both also help me execute faster, which is often the difference between success and failure.
GM: You’ve spent over a decade in the industry. What’s been your most defining moment so far?
Kolapo Oladapo : I’ve had the privilege of working with incredible teams on standout projects over the past decade. Some of my personal favorites include AUX Africa, Clout Africa, and the Apple Radio syndication deal with Cool FM. Top of the list is the recent unveiling of the refurbished music room at Queen’s College, a project especially dear to my heart because of the lasting legacy it represents.
GM: What personal experiences in the creative space led you to introduce tech solutions like Arroweye Pro?
Kolapo Oladapo : I always used code to create systems around routines in my work. These tools i’ve helped me execute faster in my personal work over the years. The investments in artificial intelligence globally have provided a new opportunity to solve complex problems quickly with advanced computation. Arroweye Pro offers an opportunity to scale those solutions and simplify repetitive processes in music marketing and healthcare. Automating mundane tasks allows professionals to focus on core areas of their work, leading to new innovation in service delivery and increased productivity.
GM: How do you convince creatives that data can enhance, not limit, their creativity?
Kolapo Oladapo : Data provides the clarity needed to make informed decisions. As a creator, much of the experimentation is about reaching that clarity. With the rapid growth of AI tools and how much time they save in the creative process, creators should be embracing AI not running from it.
GM: What is the biggest business knowledge gap among African artists today?
Kolapo Oladapo : Accessibility is a major barrier for many African artists looking to scale their work globally. At COCOA, we address this by creating easily digestible, localised content that highlights opportunities artists and creators can tap into to participate in the global creator economy.
GM: What lessons can African music executives learn from other huge markets like America or Europe?
Kolapo Oladapo : Community is everything. There’s so much to gain from supporting and collaborating with one another. I’ve personally benefited from a strong network of creators and professionals who advocate for me even when I’m not in the room. It’s not enough for one person to achieve something great. It has to be repeatable and scalable to create impact that truly benefits the collective.
GM: How do we build sustainable revenue systems for African artists beyond streaming and shows?
Kolapo Oladapo : Scaling revenue in any industry requires diversification. African product design and fashion are gaining global recognition, and I’d love to see more collaboration between African artists and designers to create both physical and digital products that go beyond streaming. Merchandise that people wear or use in daily life not only drives more revenue into the ecosystem but also keeps artists and their artistry top of mind.
GM: You’re a member and mentor at the Recording Academy. How does that role influence your work back home?
Kolapo Oladapo : As a member and mentor at the Recording Academy, I approach my work with the awareness that I’m contributing to the global culture shaping music. It’s been exciting to see more Nigerians and Africans join the Academy over the years, but we still need greater numbers to truly advocate for the culture. I hope to see a Nigerian chapter established soon and, eventually, a dedicated African Grammy similar to what exists in Latin America.
