How I overcame gender barriers in music video production, stage management – Andrawine

Agah Chinecherem Alexandra, professionally known as Andrawine, belongs to that rare breed of creatives who understand both the chaos and the craft that fuel Nigeria’s entertainment machine.

From managing live stages and televised events to producing high-profile music videos for some of Africa’s biggest artistes, Andrawine’s journey has been shaped by discipline, structure, and an uncommon mastery of logistics in a fast-moving, male-dominated space.

In this interview with ADENIYI ADEWOYIN, she speaks about her multi-layered career, leadership under pressure, the unseen demands of major productions, and the challenges she faced carving a voice as a female music video producer while building systems that make creativity thrive.

You’ve worked as a stage manager, floor manager and music video producer, how did that multi-layered journey begin, and what pushed you to master all three roles?

I became a stage and floor manager around the same time. In 2018, a senior classmate from University of Nigeria (UNN) Theatre Arts department reached out to me on Instagram after seeing I style for Nollywood.

He believed I was destined for more in entertainment and asked if I wanted to assist him at the upcoming AMVCA 2018. I agreed, and that opportunity launched my career. Soon, people started recognising my work, calling me for more jobs. I continued collaborating with him, taking on roles as a floor manager at various sports events, especially during Access Bank Marathons in Lagos, working with different sports companies.

In 2019, I met a director who saw me at the Headies “MVP” concert. He gave me his contact and asked me to message him afterwards. By 2020, I styled the cast for Reekado Banks’ “Blessings in Me” music video. Impressed by my versatility, he made me his production manager for other music videos. Eventually, I moved into producing for him. In 2022, TG’s producer called me about a location I handle because they wanted it for Ckay’s “Love Nwantiti” video shoot. He appreciated how I handled the location and brought me onto his team as a line producer. By 2023, I was his music video producer, and my journey continued from there, shaping a dynamic career in entertainment. I would say it was easy because it aligned with my discipline back in school.

You’ve been part of productions involving Asake, Burna Boy, Tiwa Savage, Davido and others. What separates a smooth set from a chaotic one when cameras are rolling?

A smooth set is created through thorough pre-production planning, well-defined roles, and steady leadership. When everyone shares the vision, respects the structure, and knows who’s in charge, the process flows, even when hurdles arise. Chaos often stems from poor planning, last-minute decisions, and too many voices offering conflicting directions. On high-level sets, issues are common, but the hallmark of top-tier productions is how quietly and efficiently they resolve problems without losing momentum.

How has stage management shaped the way you now approach music video production differently from producers who came straight into filmmaking?

Stage management has profoundly influenced my approach to producing music videos, especially in terms of arrangement and preparation, which is what’s known as pre-production, a crucial part of stage work. Before shooting, we conduct a recce, similar to rehearsals in stage management. Having experienced these processes, I already had a clear idea of what a video production entails. Both fields fall under the entertainment industry umbrella, including the movie industry, making transitioning between them seamless. Stage management didn’t just prepare me; it allowed me to integrate into video production effortlessly and without stress. Instead of feeling overwhelmed, I found the process to be smooth and straightforward.

What was the biggest lesson managing massive platforms like Lagos Countdown 2019 taught you about leadership under pressure?

As a leader, I lead by example, taking initiative rather than waiting around for my team. I step in to handle tasks or assist when everyone is busy, never acting like a boss but as a committed team player. Staying calm amidst chaos and thinking carefully before making even the smallest decision are my guiding principles.

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In an industry where delays can cost millions, how do you balance creativity with discipline and time management on set?

Creativity thrives when there’s a solid structure on set. I clarify the vision early, plan meticulously, and treat the schedule as an integral part of the art. When everyone understands their roles and the overall plan, creativity accelerates. I assign task follow-ups to my team across departments to ensure steady progress before production day. Discipline is the key that keeps the set moving smoothly.

What do artistes often underestimate about the work that goes into executing a successful live show or music video?

Most Artists often underestimate how much planning that occurs before the cameras start rolling or the lights are turned on. It’s the rehearsals, technical coordination, crew timing, and contingency plans that transform a show into a seamless experience. What the audience witnesses in just a few minutes is the result of weeks of disciplined work behind the scenes.

You’ve worked across concerts, awards shows and televised productions. Which environment tests you the most — live stage or video set — and why?

Oh my goodness, of course, live stage and that’s because it’s live, there is no post, everything is streamed in real-time, any slip-up is visible to the audience right then and there. Unlike music videos, which are carefully polished in post-production with VFX, colour grading, and graphics, live performances are so much more intense because there’s no redo. Every moment counts, and we have to get it right the first time.

The Nigerian entertainment industry is expanding rapidly. From your experience, what are we getting right, and where are we still falling short behind the scenes?

Well, we’re getting our creativity and ambition, our talent, energy, and global appeal are truly unstoppable. However, we still need to strengthen our behind-the-scenes structure, consistent planning, thorough documentation, and crew welfare. When our operations match our creative vision, our industry will be as dynamic and powerful as it appears.

How important is structure and professionalism in an industry that often thrives on spontaneity?

Structure and professionalism lay the foundation for true spontaneity. When roles, timelines, and standards are clearly defined, you can confidently take creative risks without losing control. Without this framework, spontaneity can descend into chaos, but with it, those unplanned moments often become the most impactful and memorable.

What advice would you give upcoming producers and stage managers who think talent alone is enough to survive this industry?

Talent opens the door, but it’s discipline, communication, and consistency that keep you inside. Master the art of being the remedy to even the smallest problem, and learn how to manage people, time, and pressure. Sets don’t fail because of a lack of talent, but fail due to poor coordination. Respect the process, stay prepared, and be dependable; these are the keys to lasting success in this industry.

You’ve worked on some of the biggest stages in Nigeria. What has been your most emotionally demanding moment behind the scenes?

This experience was quite funny, but recently, when a director reached out to me on my birthday, November 11th, asking if I could handle a quick production with a decent budget. He made it seem like it was just a simple on-camera shoot. I quickly planned the shoot within a day. However, on the day of the shoot, November 13th, as the artists arrived one after another, I realized I was short-staffed and overwhelmed by the amount of management needed. With 5 African artists on set and only my production coordinator and me to manage them, no production manager or runners,  I climbed bike so many times that day to go and buy things because the show must go on, no matter what, it was emotionally and physically exhausting. Thankfully, the artists were very understanding and didn’t pressure me. Despite the challenges, the final product turned out to be one of my best videos to date: “NAKUPENDA” by David, TXC, Zlantan, Scott, and Shody. I’m proud of how I handled the situation and the incredible result we achieved.

As a woman operating in highly technical, male-dominated spaces, what challenges did you face early on, and how did you navigate them?

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At first, I had to prove myself before my voice was truly heard. I faced moments of doubt and being overlooked, especially when making technical decisions. I overcame these challenges by honing my skills, staying prepared, and allowing consistent results to speak for themselves. Over time, my results earned respect, and confidence replaced the need to explain myself.

What personal habits or routines help you stay mentally grounded amid the chaos of productions and tight deadlines?

Practised staying calm and thinking clearly. There’s always a way. Never display pressure. As the backbone of the production, my composure is crucial. If the client or crew senses panic, it could jeopardise the entire project.

Looking ahead, what kind of projects do you want Andrawine to be remembered for — spectacles, stories, or systems that work?

In my world, everything is possible. Dream big, think Andrawine. There’s always a way, I’m never a believer of “it can’t be done.”

I producer who can make an AI come alive. Lol

If you could define your career in one sentence for the next generation coming up behind you, what would it be?

My career is proof that discipline, preparation, and quiet consistency behind the scenes can shape some of the biggest moments people see on stage and on screen.

There’s always a misconception about the difference between a music video director and a music video producer. Kindly explain the difference for clarity.

Absolutely! A music video director is primarily focused on the creative vision of the video. They come up with the concept, the storyline, the visual style, and they guide the artistic direction on set. On the other hand, a music video producer handles the logistical and managerial aspects. They coordinate budgets, schedules, crew, and locations, and make sure everything runs smoothly and on time. In short, the director dreams it, and the producer makes it happen.

What were the challenges you faced when starting as a female music video producer?

The challenges I faced included breaking through industry stereotypes and overcoming biases, especially in a field that was traditionally male-dominated. There was also the challenge of earning trust and respect from both crew members and artists, proving that creativity and leadership aren’t limited by gender. And of course, balancing the demands of the job with personal life was always a factor. But each challenge taught me resilience and growth. It wasn’t easy, but it was worth every step

Would you say there is gender bias in the music industry?

Absolutely! Yes