Wednesday, 4 November 2026
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Spotlight: Irabor “Drey” Damilare

While many Nigerian children grow up aspiring to become doctors, engineers or lawyers, Irabor “Drey” Damilare had his sights firmly set on a career in media and entertainment. Growing up, music channels played a significant role in shaping his vision, with MTV Base, Trace and SoundCity among his favourites. Driven by this interest, Drey began developing essential skills in writing, social media management and digital marketing, which have since paved the way for his career as an Artist Manager, A&R and Creative Director.

Irabor “Drey” Damilare
Irabor “Drey” Damilare

Drey’s entry into the industry came alongside his cousins, The Kazez, where he offered artist management services to one of Afrobeats’ iconic singer-songwriter and producer duos. His work with The Kazez over the years reflects a journey of growth, versatility and influence across the Afrobeats landscape. From songwriting credits to production contributions for artists such as Tiwa Savage, Rema, Blaqbonez, Kunmie and Adekunle Gold, Drey’s impact through The Kazez has been significant.

Beyond Artist Management and Development, Drey has developed an ear for sonic cohesion and timeless music, often recognising quality before it receives wider recognition. This instinct is reflected in his A&R contributions to projects such as Meeza’s “Azeem: The Greatest” EP, Abstraktt’s “Uncle Yellow” EP, and Layefa’s singles “Wayside” and “Tobolayefa + 6: 35.” He has also applied his expertise in content strategy, digital marketing, creative direction and social media campaigns to projects involving Macjreyz, Davesound, Oladapo and Musta4a.

A lover of good times and meaningful connections, Drey has also ventured into nightlife and events, driven by a desire to bring creatives, music and real-life connections together. His creative and art direction can be seen in the unveiling of One Of Those Nights (OOTN), a platform built around that vision.

Looking ahead, Drey hopes to strike a balance between the business side of music and maintaining meaningful relationships with the talents he works with. As he puts it, his ambition is “to be remembered as one of the people who quietly shaped the sound, careers, and business of African music without needing to be the face of everything.”

That philosophy of intentional, behind-the-scenes impact informs his newly founded management firm, Backroom Collective, and represents the next chapter in his journey of contributing to the growth and business of African music.

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