Canadian based music label Hi Way 89 is carving a niche for itself by connecting African diaspora artists to global audiences, positioning Canada as an emerging hub for Black music.
Founded by seasoned music executives Ikenna “IK” Nwagboso and Camillo Doregos, the label has quickly gained recognition for its cross cultural approach to talent development.
Before launching Hi Way 89, the duo worked within the ecosystem of emPawa Africa, led by Mr. Eazi, where they played pivotal roles in the careers of top African artists like Mr. Eazi and Joeboy.
“After I wrapped up my time with emPawa late last year, Camillo and I decided it was time to come together and build something official,” said Ikenna in a conversation with OkayAfrica.
“We both live in Canada and saw a gap in the industry. There are so many talented artists here without a solid label structure.”
“Black music still has a lot of catching up to do here. We want to be the company that puts a stamp on that space.”
Camillo echoed the sentiment, noting that the influx of African and Black diaspora talent into Canada is outpacing the number of executives who truly understand the music business.
“For us, it’s about doing what we’ve always done, develop artists and build stars,” he said.
“We’ve navigated the US, UK, and African markets. Now we’re doing it from Canada.”
Meanwhile, Hi Way 89 has already begun building a strong artist lineup.
Leading the charge is Chrissy Spratt, a Canadian singer with Armenian and Lebanese heritage. Known for blending R&B and pop with Afrobeats, Spratt exemplifies the label’s global vision.
“One of Chrissy’s strengths is her ability to weave multiple cultural sounds into her music while keeping her authenticity,” Ikenna said.
Also on the roster is Siraheem, a young Nigerian artist with something to prove, and Enchantika, an Indian Canadian artist who fuses Punjabi music with amapiano.
“It’s important to look at the team behind the artist,” Camillo noted. “Siraheem, for example, is underestimated by some, but that just gives him more reason to succeed. Even artists like Davido were doubted early in their careers, but they proved the critics wrong.”
Spratt’s recent single, “In Too Deep,” demonstrated her range, balancing the softness of R&B with Afro influenced percussion.
Meanwhile, Siraheem’s “Bad Btch Syndrome” draws from Lagos rave culture, cleverly sampling a P Square classic.
Spratt is set to release her debut EP in August, following the success of her covers that have gained traction within Afrobeats circles.
Her latest release, “Call On Me,” features Canada based Nigerian singer Nonso Amadi and artist Serotonin.
The label is also preparing a release for Enchantika, whose genre blending sound promises to be one of the year’s most unique.
When asked what makes an artist marketable in today’s music landscape, Ikenna emphasized growth and individuality.
“There’s no single formula, but what matters is an artist’s tenacity and willingness to evolve,” he said.
“Look at Asake, Burna Boy, or Diamond Platnumz, they’re global stars who never compromised their sound.”
Camillo added that tapping into the African and Black diaspora is key to going global.
“There are 200 to 300 million Black people living outside Africa. Reaching them means reaching the world,” he explained.
“Today, a song released in Nigeria can become a hit in London, Paris, or Sydney within days. That’s the power of diaspora music.”
