Getting to know the Top 10: Meet producer P2daoh

The Chronicle

On the spotlight this week is producer P2daoh who has been in the music business for over 20 years. He has produced music for several artistes including the famous Pozee and Skhu Mpofu.

Below is a profile of the producer.
Question: Who is P2daoh?

Answer: My name is Polite Tichivangana. I was born on December 10, 1982. I’m a Zimbabwean music producer, sound engineer, beat-maker, husband, and father. I was raised by open-minded parents who recognised and supported my interests in arts at a young age.

Q: Please tell us how you ventured into arts?
A: My first stage performance was at Luveve Primary School in the early 90s when I was part of the school drama club. I took up the stage name P2daoh in the early 2000s when I finished my O-level studies at Luveve High School. My music production journey started in Gwabalanda (koJoe) in 1999.

I was part of a movement called B.P.R (Blaq Panther Records) which had dancers, rappers and DJs. One day, after doing a performance at Amakhosi (Friday Live at Amakhosi), as a movement, we decided to start recording a compilation album and the closest studio that was available at that time was in Gwabalanda. It was my first time getting into a studio and I was inspired to become a music producer instantly.

The late Calvin

Q: Which artistes have you worked with?
A: Locally I’ve worked with quite a number of artistes. In 2013, I was part of the movement K.L.A.P (Kasi Lami Art Platform) with fellow artistes Cal_Vin (2dope), Fresh T, Psyko Tek, Thorne Laroq, Corey, Pozee Younga97 and Thug Poetic. I also worked with Ballers Inc (CrucFix, McMate, Thamza and Ndumiso), 3rd Life and The Eminance.

Thereafter, I worked with Alaina, Pozee, Skhu, DJ Prince Eskhosini, Br3ezy, TrapSway, Fluffy Beast, Uncle P, Prozac, Dingi Cash, Khorus, Simbai Music, Blaqs, AWA, Calentoe and Blaq Bird among many others. Internationally, I’ve worked with Benson, Maxy (Ma Gauta), Eureka and Mzekillah from Botswana; Paulino Yq ( Nigeria); Dilaman Watts, Bantu Stands, King Kgotso Phil D, Melorichlady (Mpo Masilo Green), Devour, Gigi Lamayne, Protesta and VK (South Africa); Mack23, Rhymeassasine (UK) and People under the Stairs (USA).

Q: Our number one song this week is Tikilisha. Please tell us how you came up with the beat, lyrics and your experience working with the artistes?

A: For Tikilisha, it was a matter of giving the song an up-tempo beat that slaps. Working with Pozee and Skhu is always a blast. Soon after our recording session, we could tell that the song was a hit. Shout out to Hoodlegend Gunz for the hard bars and of course Leslie Kampila for the soulful feel he brought to the song. Him (Leslie Kampila) being particular about how he wanted his vocals to sound made the whole mixing process more interesting for me.

Gigi Lamayne

Q: How do producers benefit from the songs they produce for artistes?
A: We have witnessed a lot of fights over the years, those of artistes versus producers, especially when a song becomes a hit. Someone will be claiming that they produced the song and were never mentioned or paid for the work they did. So one asks, what would have gone wrong?

The answer to this question is complex. There’s a lot that needs to be understood.
For example, understanding the role of a producer, understanding what masters are, and what percent you own as a producer/beatmaker/recording artiste on a particular song (masters). As an artiste, you need to know and understand what you are paying for, that is, are you paying for the service, time or exclusives? Half the time, people get it twisted there, thereby causing conflicts.

Q: Looking at the current entertainment scene and music industry, what do you think is missing and what should be done to make it reach, for example, South African standards?

A: I think identifying existing strengths, weaknesses and opportunities can help the current creative industry grow.
Q: Do you think radio stations are playing their part in promoting local music?
A: I look at it this way. If the stations are saying they are doing their part in promoting local, there should be visible results. If there are no visible results, that can mean they are not or whatever they are doing is not enough.

Article Source: The Chronicle

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