Marvellous Cosmas, better known as Marvey Muzique or his producer tag “Marvey Again!,” has been a multi-talented force in the Afrobeat space. Starting as a church instrumentalist, Marvey has evolved into a producer, mix engineer, songwriter, and singer with credits that underscore his versatility. Recently, he co-produced Davido’s hit track “Awuke” alongside Mikababeatz, which debuted at No. 1 on the Official Nigeria Top 100 chart—Davido’s ninth chart-topper. Marvey also made waves with the remix of “Ogechi,” which claimed the top spot for two weeks.

His resume doesn’t stop there. Marvey contributed to standout projects like Davido’s Grammy-nominated Timeless album, including the fan-favorite “PICASSO,” engineered “In the Garden” feat Morravey, featured as co-producer on Ayra Starr’s The Year I Turned 21 with the track “Birds Sing of Money” with engineering and vocal production credits on a large number of songs on the album. Working with rising stars like Qing Madi on “See Finish”, “American Love” and “Goosebumps,” just to mention a few and co-engineering Chris Brown’s Sensational featuring Davido and Lojay, Marvey continues to blend his skills seamlessly across songwriting, engineering, and production. 

Other credits include Mayorkun, Akon, Maphorisa and many more. 

In a TurnTable interview, Marvey shared his journey—from the challenges of transitioning from gospel to secular music to finding his stride with mentors like Masterkraft. He also revealed his aspirations to collaborate with global icons like Chris Brown, Tems, and Rema. With more projects in the pipeline, Marvey Muzique is poised to redefine Afrobeat while carving his own global legacy.

TTC: Hello, and welcome to TurnTable. Can you introduce yourself and share a bit about your background?
MARVEY MUZIQUE: It’s a pleasure to be here. My name is Marvellous Cosmas, but people call me Marvey Muzique or by my producer tag, Marvey Again. I’m from Imo State, Nigeria, but I spent most of my life in Port Harcourt. I come from a large family where music was always present. My uncles were into music, and my mum played music consistently, which introduced me to artists like Westlife, Michael Jackson, Whitney Houston, and Oscar Peterson. I started playing the piano on stage at 15, then moved to drums. I also acted as a music director in church when needed. Today, I’m a Grammy-nominated producer and engineer for my work on Davido’s Timeless album.

TTC: What has your journey been like on the path to becoming a producer? Who or what has been your biggest inspiration?
MARVEY MUZIQUE: It hasn’t been the easiest journey—it’s far from smooth—but that’s what makes it worthwhile. I realized music was my calling through church music. As much as I enjoyed it, I knew I wasn’t going to get the global recognition I craved with gospel music. To be honest, I didn’t enjoy producing church music as much as playing it. Being a church instrumentalist in Nigeria can be quite restrictive. The major challenge was transitioning to secular music—it was a huge leap. Thankfully, Masterkraft mentored me and advised me to unlearn and relearn. My mum has also been a significant inspiration because of her unwavering support. I also look up to Masterkraft, Don Jazzy, and Sarz—pioneers of the commercial Afrobeat sound. I emulate their work ethic every day. Watching my own growth has also been a source of inspiration because persistence pays off.

TTC: You recently produced Davido’s single “Awuke.” Could you tell us the story behind this track and walk us through the creative process?
MARVEY MUZIQUE: “Awuke” was a special project co-produced with Mikababeatz. The process was enjoyable because Davido and his team created such a collaborative environment. Davido himself is a dream to work with. He’s so musically approachable and really allows you to bring your ideas to life.

Mikababeatz started the beat, but it wasn’t quite complete. At the time, I was already working as Davido’s personal recording engineer even till date. The sound was fire from the start even with just Davido’s vocals laced in and the beat not being initially complete. Then Davido asked me to add some cocaine to the music!, which I did. I went in and layered the instruments, added some extra energy, and personally, the highlight of the track for me was the instrumental buildup towards the end of YG Marley’s section. I felt like I really “took it to church” there! And of course, the hook with Davido doing his thing? Pure magic. He loved it, and that’s how “Awuke” came to life. It’s one of my proudest moments.

TTC: Out of all the projects you’ve worked on, is there one that stands out for you? We’d love to hear about that experience.
MARVEY MUZIQUE: The first would be “See Finish” by Qing Madi. I mixed and mastered the record, and it was amazing to see how a 16-year-old turned that song into a breakout hit. It was a swift session—shout out to RadioChef and Ramoni. Secondly, Davido’s “PICASSO” featuring Logos Olori. It was the first time I recorded Davido directly. It was a huge achievement because I was just establishing myself then. Big thanks to Banko (GM of Sony Music WA), who has been an incredible support throughout my journey so far. If it weren’t for him, I might still be stuck in the underground scene still going my YouTube type beat thingy. But that’s a story for another time!

TTC: Beyond producing, you’re also a songwriter and singer. How do you balance and manage these three talents effectively?
MARVEY MUZIQUE: The “multi-talented producer” dilemma! I don’t see it as a struggle because it makes everything work together. I can tweak lyrics, sing, and make artists feel at ease. For example, I co-wrote Davido’s “MAGICIAN” featuring Morravey, aside from being the producer. Being able to offer vocal input or even just suggesting lyrical changes during a session makes me more involved, and it creates this seamless collaboration where both the artist and I are fully in tune with the direction of the song.
Basically, being able to wear multiple hats makes me really easy to work with, and it builds trust with the artists. It’s all about making the music the best it can be, no matter what role I’m taking on at that moment.

TTC: Every career has its challenges. What are some of the obstacles you’ve faced, and how do you overcome them?
MARVEY MUZIQUE: Earlier in my career, I was labeled a “type beat” producer, creating specific beats just to gain traction. I realized it wasn’t for me. I needed to evolve and stop boxing in my creativity, so I started working with more artists. Another challenge was not being heard initially. It was frustrating because it felt like no one was paying attention. During tough times, I would call my mum, shed a few tears if needed, and pray. Eventually, things fell into place. Persistence and consistency have been key for me.

TTC: Are there any artists you haven’t worked with yet but would like to collaborate with in the future?
MARVEY MUZIQUE: Absolutely! I’d love to work with Omah Lay, Rema, and, of course, Chris Brown. I’m also a fan of Victoria Monét, Tems, and Lojay—I feel their sound would merge perfectly with mine, and the creative energy would be incredible. There are also many producers I’d like to collaborate with. The possibilities are endless!

TTC: Lastly, what other projects are you currently working on, and what should we look forward to from you in the near future?
MARVEY MUZIQUE: Well, I can’t reveal everything just yet, but I’ve worked on a long list of projects this year. For example, I co-produced “Birds Sing of Money” on Ayra Starr’s The Year I Turned 21 album, mixed and mastered the “Ogechi” remix, and Qing Madi’s “Goosebumps.” I’m also working on a project of my own, which I’m handling with love and care. In a few months, you’ll definitely be hearing a lot from me.