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Message: [QUOTE="Shamiso, post: 92643, member: 160"] Article Wan was already producing his own records when “Solo” broke through in 2016, long before production became a side note in his profile. He later said he had produced all five singles he had released by 2017, including the song that pushed him into the spotlight. Production is easy to miss in his story because people usually meet him as a singer first. His production work explains something more practical about [B][URL='https://goldmidi.com/community/threads/article-wan-rejected-the-idea-that-his-music-career-was-fading.77978/']Article Wan's path through Ghanaian music[/URL][/B], namely how he kept making records without treating studio access as somebody else's problem. He has also been pretty blunt about why it matters. In a 2019 interview, Article Wan argued that artists who can produce for themselves reduce costs, avoid waiting around for investors, and keep moving when money gets tight. [HEADING=2]He learned production before Solo became the payoff[/HEADING] Article Wan did not wake up after “Solo” and suddenly decide he should learn beats. Biographical accounts trace his production interest back to studying other producers, experimenting with his older brother's portable recording gear, and later working around Mingle recording studios in Abossey Okai. By 2016, those skills had become commercially useful. Article Wan produced “Solo” himself, then watched the record turn into the song that made his name much bigger around Ghana. A 2017 interview gives a clearer snapshot of how much control he had at the time. He said he had five singles out and had produced the beats for all of them, not just “Solo.” His priorities were still clear. Asked whether he would rather be a sound engineer or a musician, Article Wan picked music because he saw it as his first love. The answer matters because it stops the producer tag from swallowing the artist. Production was not presented as a replacement career. It was the machinery underneath the one he actually wanted. The broader [B][URL='https://doi.org/10.5429/2079-3871(2023)v13i1.3en']artist-producer workflow[/URL][/B] can blur writing, performing, editing, arranging, and mixing into one creative process. Article Wan's own comments fit that setup pretty neatly, even if his route into it was more about necessity than theory. [HEADING=2]Producing his own music became a money decision too[/HEADING] By 2019, Article Wan was talking about production less like a cool extra skill and more like basic survival. His argument was simple enough. Recording costs money, upcoming artists often wait for outside support, and some eventually stop because nobody steps in. He said producing your own work can cut those costs and keep a release from depending on an investor. Fair point, although his stronger claim that self-production is a gateway to success obviously does not work as a universal rule. Loads of artists can produce themselves and still go nowhere. Plenty of successful singers never touch a session file. Article Wan was really describing the problem he had solved for himself. His catalogue backs up the habit better than the slogan does. “Faya Burn Dem” carried his production credit in 2017, while later releases such as “Nana Ama,” “Wusie,” “Etso,” and “WALA” were also presented with Article Wan behind the production. Not every Article Wan track was self-produced. “Azonto Flex,” for example, was credited to Dream Jay, so the useful distinction is not that he refuses outside producers. He simply has the option to do the job himself. Having that option changes the economics. An artist who can build a beat, shape the arrangement, record ideas, and finish enough of a track to move forward has fewer moments where the whole process has to stop and wait for somebody else's budget or schedule. [HEADING=2]His 2026 credits show the habit never disappeared[/HEADING] The producer side was still visible a decade after “Solo.” “SPIRIT,” released on April 24, 2026, lists Article Wan as producer alongside his lead-vocal credit and Bright Homenya as songwriter. “Faya” continued the pattern in August. Current release credits list Article Wan as producer, with Bright Homenya credited for writing and composition, while his own promotional post also identified the track as produced by Article Wan. No need to turn that into some grand reinvention. The interesting bit is how little reinvention there actually is. He was making his own breakthrough record in 2016, talking openly about producing his catalogue in 2017, preaching the cost benefits in 2019, and still carrying production credits in 2026. The thread running through all of it is control. For Article Wan, producing never looked like a random résumé flex bolted onto the singer job. It became one of the ways he could keep making music when budgets, collaborators, or outside opinions were doing something else. [/QUOTE]

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