Omer Ahmet is one of the most quietly industrious independent artists working in London today — a multi-genre songwriter, producer, and music video creator with over 25 years of dedication to his craft, a catalogue of more than 330 original songs, and a momentum right now that is very hard to ignore. With “Mangal Gel” sitting at #3 in the Timbaland Global Search, AZIZEM past the 1.2 million stream mark, and his bold new single “Bump N Grime” dropping October 25th, we sat down with Omer to talk about where he’s been, where he is, and where all of this is heading.
- You’re about to release “Bump N Grime” on October 25th. Before we get into the details — are you considering any collaborations or guest features connected to this release or in the near future?
My style is quite different, and I think every artist has their own vision. If another artist wants to sing or collaborate with me, they have to really feel the song and the vibe. Their vision may be different from mine, and that doesn’t make either of us wrong — that difference is part of what makes us artists.
For me, a collaboration has to create something special. Whoever I work with, whether they’re an up-and-coming independent artist or someone already well known, I want us to make magic and bring creativity to its highest level.
I’m open to working with both. What matters to me isn’t how famous someone is, it’s whether we connect creatively and whether the music comes from the heart.
That’s always been important to me because I write from things I’ve seen, lived and felt. I want to make music that people can hear and say, “I understand that — I’ve been there too.”
If a collaboration can create that kind of connection with people around the world, then I’m interested.
- “Swagger. Rhythm. Character. No rules.” That’s your campaign line for “Bump N Grime.” How did the concept for this single — including the cat mascot — come together, and what feeling did you want it to leave with listeners?
The first version of “Bump N Grime” started in 2025 as a funky groove, inspired by the feeling of having a good night out and enjoying yourself. But I wanted to take it somewhere different.
I started playing the guitar and working through the chords, and that’s when I realised the track had real swagger, rhythm and character. It had its own personality, and I wanted the whole release to reflect that.
The cat came from my imagination and my love of creating a strong visual identity. I wanted “Bump N Grime” to have a character people could recognise straight away, not just as part of the music video but as part of the branding and marketing around the song.
So I created this cool cat character to live alongside the track and give the whole campaign a fun, stylish personality.
At the heart of it, “Bump N Grime” is a feel-good dance song. I want people to smile, move, dance, enjoy themselves and feel comfortable being who they are.
That’s the feeling I wanted from the beginning — confidence, fun, freedom and good energy.
- “Mangal Gel” is currently ranked #3 in the Timbaland Global Search powered by Orbiit. What has that experience been like, and what has it meant for your visibility and momentum as an independent artist?
Being part of the Timbaland competition has been an honour and a privilege. Timbaland is one of the biggest producers in the world, so just being part of that environment means a lot to me.
At first, I was actually undecided about whether I should enter. There are some big artists in the competition and people with much bigger budgets behind them, so I thought to myself, “Should I really do this?” Then I decided, let’s have fun with it.
I wanted to be different. I wanted to put forward something fresh and something that really represented my roots. I have so many songs that I believe in, so choosing one was difficult, but in the end I went with “Mangal Gel.”
The whole journey has been amazing — from the BBQ, to the studio, to the world, to the Timbaland competition, and then into the London press.
To see the song reach Rank #3 and connect with people has given me real momentum as an independent artist. It’s brought more attention to the music, more people discovering who I am, and more confidence to keep pushing forward.
It’s been an amazing experience, and I’m enjoying every part of the journey.
- You launched your solo career in 2025 after more than 25 years dedicated to music. What led you to that decision, and what changed when you finally stepped out as a solo artist?
Over the years, I learned a lot as a songwriter, producer and artist, and from working with professionals in the music industry. All of those experiences helped me understand not only how music is made, but also what I wanted to say with my own music.
Eventually, I reached a point where I wanted to express myself fully and show my own creativity and passion.
Music has always been my escapism. When I’m creating, I enter a completely different world. My imagination runs wild and free, and for that moment there are no limits on where a song can take me.
As life changes, you also start to find more space for yourself. My children have grown up, and I realised I finally had the time to really follow something I had carried with me for many years.
Everyone has a dream somewhere inside them. When the opportunity comes, I believe you should give yourself permission to follow it.
This is the beauty of my dream — and this one is mine.
- Your catalogue spans more than 330 original songs across an extraordinary range of genres — R&B, Afrobeat, Hip Hop, Reggae, Latin, cinematic music, and more. How do you manage such a wide creative range without losing a coherent artistic identity?
Most of my songs come from real life. What your eyes have seen, what your ears have heard, what you’ve lived through and what you can relate to — all of that finds its way into the music.
Then my roots naturally come into it as well. That’s why I can move between different genres without feeling like I’m losing myself, because the foundation is still coming from the same place.
For me, the most important thing is the feeling. If I’m not feeling the vibe, then I know the listener probably won’t either. I’m quite ruthless with myself in that way — if a track doesn’t connect with me emotionally, I’ll bin it there and then.
That’s probably how you know a song is Omer Ahmet. The genre might change, the rhythm might change, the language might change, but the emotion has to be real.
- “AZIZEM” has crossed 1.2 million streams and clearly resonated far beyond what many independent releases achieve. Looking back, what do you think made that song connect the way it did?
“AZIZEM” actually goes back to 2019. I was in the studio with Everett Peters, known as Soundbwoy Entertainment, who sang “Never Wanna Say Bye Bye.” At the time, my partner’s name was Azizem, and we had met in Şanlıurfa, Türkiye.
The very first version of the song had more of a Latin feel. I wrote and produced it, but I remember telling Everett, “I’m still going to work on this.” I knew there was another version of the song inside me.
So I went back to my roots. I brought in Afro-inspired drums, Turkish and Middle Eastern influences, and an authentic instrumental break that gave the track its own identity.
I finally released “AZIZEM” in March 2025 as something personal for my beloved partner. That emotion is probably one of the reasons people connected with it. It wasn’t just a song I made for the sake of releasing music — there was a real person and a real story behind it.
For me, what makes “AZIZEM” special is that it carries love, history and different cultures in one song. I think listeners felt that honesty, and seeing it go beyond 1.2 million streams has been incredible.
- You draw creative inspiration from Cyprus, Türkiye, Greece, Italy, the Middle East, and East Africa. How do those cultural roots show up in your music — and does it change depending on which genre you’re working in?
Wow Mena, that’s another interesting question.
When a song first comes into existence, I honestly don’t always know what genre it will become. Sometimes the lyrics come first, sometimes the beat, sometimes the chords. A lot depends on how I’m feeling that day — whether I’m happy, sad, reflective, excited, or going through something emotionally.
From there I start asking myself: how does this connect with me? What feels natural? What represents who I am?
That’s when my roots and culture begin to come through — in the rhythm, the soul, the sound, the melodies, and sometimes the language.
I don’t like to force a song into one box. I prefer to think of myself as a global songwriter. I love experimenting, exploring different sounds, and letting each song find its own identity.
And sometimes we get things wrong. It might be the lyrics, the sound, the mix, too much reverb, or simply a creative decision that doesn’t quite work. But that’s part of being an artist. What makes us unique is that we can change, adapt and learn from it.
That’s how music works for me — you keep creating, listening, learning and improving. The genre can change, but the emotion and the connection to who I am always stay at the centre.
- You’ve had airplay on Rhondda Radio for “I Wanna Be Your Man,” with “Mangal Gel” also confirmed for October 3, as well as press coverage from London to Brazil and features in outlets including Rock Era Magazine. How important has that international press and radio support been to building what you’re building?
When I hear my music on the radio, I get emotional because I know how much hard work, dedication, time and love has gone into creating it.
What means the most to me is when a listener or fan appreciates the music, connects with it, relates to it and understands where I’m coming from. That’s what makes all the work worthwhile.
I’m truly grateful to everyone who has given me an opportunity along the way — radio presenters, journalists, press outlets, curators, creators, fans, family and friends. Every person who has listened, shared, played or supported the music has become part of the journey.
To see something that started in the studio travelling to different countries and reaching people around the world is something I never take for granted.
From the studio to the whole world, I’m honestly honoured. Peace and love to all — always be well.
- You’re developing a 31-album project — 30 in English and one in Turkish. That is an extraordinarily ambitious long-term vision. How do you think about sequencing and pacing a project of that scale while also releasing music regularly?
🤣🤣🤣 Mena has definitely done his homework on me!
For me, songwriting comes very naturally. Some artists need a full team around them — songwriters, musicians and producers — and that’s how a lot of major-label projects are built. There’s nothing wrong with that at all. But for me, I can sit down with some chords, an idea or a feeling, and a song can start forming very quickly.
A lot of that comes from age, mindset and life experience. I’ve seen a lot, lived through a lot and met people from many different backgrounds. That gives me stories, emotions and perspectives to draw from.
If you ask someone to write about struggle, soul, the streets, family, love, loss or real life, not everyone will know where to begin. It depends on your roots, what you’ve seen, what you know and what you believe.
I honestly believe everyone has a story and everyone has a melody somewhere inside them. I seem to pick up on those stories and turn them into songs.
That’s why the 31-album vision doesn’t feel impossible to me. The songs are already coming. The important thing is not rushing them. I want to group them properly, let each album have its own character, and keep releasing singles along the way so every song has a chance to breathe.
I’ve also taken that storytelling into musical theatre and film. I’ve written “Torn,” a musical story with ten original songs about two brothers who fall in love with the same woman, blending opera, rap, R&B, soul and pop.
I’ve also written “Cleopatra,” another ten-song musical project with a full story built around time travel — a traveller goes back in time, falls in love with Cleopatra, and by doing so changes the course of history.
Those are projects I’d love to take further with the right directors, producers and creative team.
For me, it’s not about putting out 31 albums as quickly as possible. It’s about building a body of work that reflects different parts of life, culture, emotion and experience — music and stories that people can listen to, relate to and hopefully see a part of themselves in.
- Alongside your music career, you’ve worked in ambulance transportation helping vulnerable people, cared for both parents through cancer, and supported Comic Relief and cancer research campaigns. How much of that lived experience feeds directly into your songwriting?
Life is like the game Snakes and Ladders. None of us really knows what is going to happen next, what life will throw at us, or who we will become along the way. All we can do is keep trying, keep learning and keep going.
I’ve seen and heard a lot in my life, and those experiences stay with you. Helping vulnerable people, supporting charities, caring for my parents and seeing people go through fear, pain and illness taught me a lot about humanity.
There is something very powerful about being able to help someone, support someone, put a smile on someone’s face or simply understand what they are going through. Those moments change you.
A lot of that naturally feeds into my songwriting because real life gives you real emotion. Love, pain, fear, hope, family, loss and resilience — those things are part of all of us.
One of my songs, “There’s Only Me and You,” really reflects that belief. It’s about standing beside someone when life gets difficult, giving them strength when they’ve lost hope, and believing that love can carry people through hard times.
“When times are hard, we gotta be strong
Love will carry us on.”
We are living in a time where so many people are suffering and where humanity can sometimes feel divided. I believe we need more compassion, more understanding and more unity. We should always stand against suffering and anything that takes away from our humanity.
If my music can make someone feel understood, less alone, or even just bring them a little peace, then that means something to me.
That’s the kind of message I want my music to carry — support, hope, strength and humanity.
- You produce your own music videos and handle much of your own creative direction. In a world where visual identity is increasingly central to an artist’s success, how do you approach the visual side of your releases?
Oh my God, I love this question because this is where I really feel like I shine. I get genuinely excited talking about the visual side because creativity is one of my greatest passions.
When I write and produce a song, I normally start getting ideas for the video almost straight away. Sometimes the direction comes from the lyrics, sometimes the beat, and sometimes an image just appears in my mind and I know exactly where I want to take it.
That could be anything — futuristic worlds, studio scenes, boxing, Bollywood influences, robots, cinematic sci-fi or even something with a space-opera feeling. I love experimenting and creating a different world around each song.
When I’m working on the visuals, I honestly become like a little child again. My imagination runs free and there are no limits. That’s when I feel most alive creatively.
For me, the video isn’t just something you add after the song. It’s another part of the storytelling. The music gives you the emotion, and the visuals let you bring that emotion to life.
I also think about how the visual can become part of the identity of the release — something people recognise instantly on social media, artwork or video. That’s why characters, styling, colours and concepts matter to me.
I want each song to have its own world, but still feel like part of the Omer Ahmet journey.
That’s where my passion and creativity really shine.
- Your music is being positioned for sync licensing across film, television, advertising, gaming, and branded content. Is sync a strategic priority for you right now, and what opportunities are you actively pursuing in that space?
Absolutely. This is one of the areas I want to develop the most.
I have more than 330 original tracks, covering many different genres, moods and cultural influences, and I would love to see that catalogue licensed and used across film, television, advertising, gaming, trailers and branded content.
I’d love to have my music placed with major studios, streamers and production companies, but I’m equally interested in working with independent filmmakers, producers, music supervisors and creative companies. For me, it’s about finding the right home for the right piece of music.
I also have my two musical theatre and film concepts, “Torn” and “Cleopatra,” which I would love to develop with the right producers, directors, investors and creative teams. These are not just collections of songs — they have stories and characters behind them, so I see them as complete creative projects that could potentially grow into stage or screen productions.
I’ve also recently started developing another project that is very close to my heart called “Zeynep,” inspired by my daughter. It follows her adventures and life through original songs and stories.
I’ve already started creating music around things such as the alphabet, numbers and fruit, with the idea of developing it further into children’s videos, educational content, colouring books and other creative material.
I want “Zeynep” to keep growing into its own little world — something colourful, musical, educational and fun that children and families can connect with.
So when I think about sync and the future, I’m thinking much bigger than one placement. I want to open up my 330-plus-song catalogue, develop “Torn” and “Cleopatra,” and continue building “Zeynep” into something that could live across music, film, television, theatre and children’s entertainment.
I’ve created a lot of music and a lot of ideas. Now I want to connect with the right people who can help take those ideas from the studio to the world.
- What does the rest of 2026 and early 2027 look like for you beyond “Bump N Grime”? Are there more singles, album projects, or live opportunities on the horizon that you can share?
The plan first is to continue releasing the singles I’ve been working on, and then bring them together into my first full album, “Omer The Maestro.”
That journey should take me through to around May 2027, and after that I want to give myself a couple of months to recharge, reflect and come back with fresh energy.
But the next chapter is already taking shape. I’ve also prepared my second album, called “Words of Wisdom.”
That project is very personal to me. It reflects me as a child, discovering and showing my talent, but the journey develops into something much deeper. It takes me back to my roots, where I meet Aphrodite, and she becomes almost like a guide through the story — leading me through time, reflection and the journey still to come.
Through that concept, I want to send a message to the world about life, identity, wisdom, where we come from and where we are going.
There aren’t any live dates I can announce just yet, but I’m absolutely open to the right live performances, showcases and festival opportunities as the releases develop.
So although I’ll take some time to recharge after “Omer The Maestro,” creatively I’m already looking ahead. I’ve got more music, more stories and more ideas ready to grow.
After that, I’ll see what opportunities come my way — whether that’s live performances, collaborations, sync, film, theatre or something completely unexpected.
For me, every project is another chapter of the same journey — and “Words of Wisdom” will take that journey somewhere very different.
