Asake’s 2026 album M$NEY gives a useful way to see what producer Magicsticks actually does. The public credits name him as a producer on eight of its 13 tracks, while other songs name Blaisebeatz, AOD, P.Priime and Kabza De Small among their makers. That division is more revealing than a blanket claim that one person “made the sound”: it shows a continuing creative partnership that leaves room for other hands.
The record’s current chart presence gives those credits a business context. TurnTable’s Official Nigeria Top 100 for October 30 to November 5 lists both “Gratitude” and “Forgiveness.” Kworb’s Spotify Nigeria daily chart for November 8 also lists both songs, a separate platform measure. Qobuz’s album credits name Magicsticks on both, with Nana Ntorinkansah also credited as a producer on “Forgiveness.” The chart does not say which studio decision kept either song in circulation. It does show that production work made months before a chart week can remain part of what Nigerian listeners are hearing.
The album makes the partnership visible
Qobuz lists Magicsticks on “WORSHIP,” “Gratitude,” “Rora,” “Amen,” “WHY LOVE,” “Forgiveness,” “Oba” and “Skilful.” That is eight distinct production credits across an album that also uses other producers. The credits are worth reading song by song. “WORSHIP” also names DJ Snake as a producer, while “Forgiveness” lists Nana Ntorinkansah alongside Magicsticks. A credit is evidence of a stated contribution; it does not tell us who played every instrument, made the final arrangement decision or owns a particular share of the recording.
For “Gratitude,” the production credit appears in more than one public place. Qobuz names Magicsticks, and the auto-generated description on Asake’s official YouTube release names him too. The Beatz Awards’ 2026 nominee list pairs Magicsticks and “Gratitude” in its Afro Pop Producer and Male Producer categories. Those independent records support the association without requiring an invented account of the session.
The same nominee list credits Asake and Magicsticks together in its Song Writer category for “Gratitude,” while Qobuz lists several composers for the track. These are different credit presentations, so the safe reading is that the awards body chose to recognize that pairing; it is not a complete split sheet. For artists and managers, that distinction matters whenever a producer’s public identity is much simpler than the underlying credit line.
How the work was described
In a May interview with OkayAfrica, Magicsticks described M$NEY as a project whose direction could not be reduced to a drum pattern. He said that when he works alone he often starts with drums, but some songs on the album took shape before their instrumentals did. His account helps explain why the album credits should not be treated as a list of identical beat-making jobs. It is his account of the process, not independent documentation of every session.
He gave OkayAfrica a particularly concrete example in “Amen,” saying that the team tried choirs from Nigeria, the United States and the United Kingdom before settling on the result. The Qobuz credit independently establishes Magicsticks as the track’s producer, although it does not identify the choirs. That is a useful boundary for a craft story: the released credit verifies his named role, while his interview supplies the detailed account of how one arrangement was pursued.
In a separate June interview with The NATIVE, Magicsticks described production as both technical and interpersonal work. He named production, piano, mixing and sometimes writing or mastering as useful skills, then stressed the need to understand how each artist prefers to work. That account sits beside, rather than replaces, the album metadata. One tells us how he thinks about the job; the other shows where his name appears on a finished release.
Why the credit line matters beyond one album
Magicsticks told The NATIVE that he began with a laptop, a sound card, home theatre speakers and borrowed church microphones, and that Jay Pizzle later gave him his first studio equipment. OkayAfrica separately reported his early practice of remixing music by adding percussion, drawing on an earlier interview with him. Both accounts locate the producer’s focus on rhythm before the current album, though neither gives us a right to claim that every later hit follows a single formula.
His publisher, Concord, identifies him as a Nigerian producer, sound engineer and DJ and lists his work with Asake and DJ Neptune among his catalogue. That is a company profile, so it is best read as Concord’s presentation of its roster, not as an independent audit of every accolade in it. The released M$NEY credits and dated chart positions provide a narrower, checkable view of the work now in public circulation.
The production roster on the album is also a reminder that a familiar artist-producer pairing can be collaborative without being exclusive. Qobuz names Blaisebeatz on “Wa” and “MCBH,” AOD and P.Priime on “BADMAN GANGSTA,” and Kabelo Petrus Motha on “Asambe.” Magicsticks appears across much of the project, while those credits document different choices for other tracks. We cannot infer the private division of fees or rights from those listings.
For a Nigerian artist team, the practical lesson is in the documentation. Keep the track-level producer and composer credits accurate, distinguish a public album credit from a private agreement, and be specific when describing who did what. Our earlier look at producer income explains why incomplete records can become a payment problem. Magicsticks’ M$NEY credits show the more immediate editorial point: the people behind a record are part of its story, and a listener can see more of that story when the names and roles are preserved.
