On ‘Snowdome’, Wayne Snow distills identity into sound, freezing fleeting emotions, dissolving time, and revealing raw truth beneath digital facades. From Warri to Berlin, his universe bridges future-jazz, neo-soul, and Afrofuturist philosophy, blending spirit and science, groove and introspection. We sat down with Wayne to explore how his new era captures who he really is, for now.

You framed Figurine around “Who is the real you?” How has your answer changed since 2021, especially as you move into Snowdome?

The question is still just as relevant. In an ever-changing world, it’s hard to keep track of things, even of yourself. Snowdome was my attempt to freeze a very precise moment of who I am, without filters. Most of the songs were created on the spot, so they carry that raw, unedited truth.

Your sound sits between future-jazz/neo-soul and electronic R&B. What elements from Lagos/Paris/Berlin do you consciously keep, or strip away, in the studio?

I’m actually from Warri, about five hours from Lagos. That Warri energy never leaves me, it’s a fire of curiosity and the will to overcome any obstacle to reach self-fulfillment. Wherever I’m recording, that spirit stays at the core.

You’ve worked with Crayon, Darius, FKJ, and Oscar Jerome. What do you borrow from each collaborator, and what non-negotiable “Wayne” rule stays in every session?

Every collaborator brings a new world, but one rule never changes: expect the unexpected. I go into each session with open ears and an open heart. We don’t know what the final song will become, and that’s the magic.

Afrofuturism shows up in your visuals and narratives. How do you balance philosophical themes with songs that still hit on a dancefloor?

I love writing songs with layers. Music is special because it doesn’t hit you the same way every time. You can dance to a track one night and, another day, feel its deeper reflection on identity or the universe. Both truths can live in the same beat.

On Figurine, you explored facades and social media identity. Has your view on online persona vs. self shifted after touring and new releases in 2024–25?

Not really. People still wear masks. Speaking about it doesn’t make it disappear. It just makes you notice the illusion even more.

“The title track was sparked by Salvador Dalí’s painting ‘La persistencia de la memoria'”

What did the Circle of Live ecosystem change in your live approach, improvisation, arrangement, or crowd pacing? Any rituals before stepping on?

Joining Circle of Live felt natural. Unpredictability has always been part of my DNA. I love giving an audience an experience they can’t fully predict. And I’m not afraid to be vulnerable in front of a crowd; that openness is my pre-show ritual.

Walk us through one track from Snowdome: sonic palette, rhythmic spine, and one production decision that unlocked the song.

The title track was sparked by Salvador Dalí’s painting La persistencia de la memoria, the melting clocks. If you listen closely, you feel time and space dissolving; past, present, and future lose their boundaries. Building that sense of collapse was the key production breakthrough.

One texture you’re obsessed with this year (synth, percussion, mic chain)?

I’m still obsessed with the Moog Voyager. Its resonance keeps finding its way into everything I make.

A collab you haven’t done yet that makes perfect narrative sense for your world, and why?

Without hesitation: Flying Lotus. His vision and fearless madness speak to me. In the studio with him, I think words would be unnecessary; everything could be expressed through sound.

Watch ‘Cold Zone’ music video below: