Just like Idowest, Yonda, Ayanfe, Danagog and others, Lil Frosh‘s talent was almost going to be buried in DMW.
Before getting that DMW record deal, Lil Frosh was known to be a very talented promising young artiste who can flow well on any beat.
I could remember when he came to Naijaloaded HQ with Mohbad for NL Fire On The Mic, he didn’t have the beat upfront, we asked that he listen to the beat for some time and vibe with it before we start shooting.
Lil Frosh was so confident that, he told us he doesn’t care what the beat sounds like, he’s just going to kill it and that’s exactly what he did.
At that point, he needed a record label to push him further and help him go far in the music industry but that label was not the crowded DMW.
Why DMW Wasn’t The Right Record Label For Lil Frosh
Being a street artiste in DMW is hard because the label doesn’t seem to believe in raw street music and that’s why they don’t invest so much in their street acts.
Personally, I feel DMW signs street acts just for clout gains not because they want to really invest in the artiste consistently.
Another thing is, the DMW environment won’t be conducive for him as a young artiste to make good music, there are high chances that he will get carried away with the drip and expensive social life within the label.
Also, being with DMW will definately distance him from the street, thereby finding it difficult to relate with his fellow street guys in other to get inspired to create good street music.
For instance, his first song under DMW titled “50 Fifty” was way below what was expected of him at the point of release. On that song, Lil Frosh was just struggling to blend street with porsh love song.
Thank God for Mayorkun‘s assistance on “Kolerebody“. From the start of the song, you’d notice Lil Frosh forcing the same style he used on “50 Fifty“.
DMW is not just the right label for Lil Frosh considering the fact that he never recorded any major career growth with the label
Lil Frosh After Termination Of His Contract At DMW
The circumstances that led to Lil Frosh being shown the exit door from DMW wasn’t good enough.
I feel the label had the gut to let him go in that manner because they don’t see him as a good investment afterall. If it was Peruzzi in the midst of such drama, I am damn sure he won’t get sacked the way Lil Frosh was sacked.
Few months after the termination of DMW’s contract, Lil Frosh did so well by putting the past behind him and focus on his music.
His first attempt to come back from the domestic violence drama is the song “Oshaa“. The song got me admitting that the original Lil Frosh I know is back and better.
Lil Frosh was able to string a couple of mature lyrics together on the song and delivered it fantastically well, talking about how he believes so much in himself and doesn’t give a f*ck about competition.
His new song “Omo Ologo” featuring Zinoleesky shows how much Lil Frosh has improved as a musician in terms of versatility, songwriting and music delivery.
Lil Frosh and Zinoleesky on a song and Lil Frosh took the chorus? Whao!! That makes a lot of sense and it’s a sign that the ex-DMW act is moving on a different wave.
Advice To Lil Frosh
Know this today, you’re a star and your star will shine brighter than this if you’re always conscious of making the right move.
You have started this year on a very bright note and if you’re ever going to consider any record label again;
Be sure the record label is not overcrowded
Be sure the record label has a genuine plan for you and will stand by you in tough situations
Never join a label that will take you far away from the street
You might not have access to all the fun lifetsyle and the expensive material gains of being a DMW artiste again, but the most important thing is you are able to make songs that many people love and your career is growing.
With consistent release of good music, proper branding, and management, the sky is the beginning for you.
