Kah-Lo Talks “In This Bih,” Taking Control, and Her Dance-Pop Legacy [Q&A]

Kah-Lo does not need much room to make a record feel massive. A few words, the right swing, that unmistakable voice, and suddenly the whole thing is lodged in your head.

That is exactly what has been happening with “In This Bih,” her collaboration with Chris Lorenzo. After soundtracking EDC Las Vegas in May and becoming the festival’s most Shazammed track, the record has picked up serious viral steam over the past few weeks, moving from festival clip to social feed to streaming spike without losing any of its loose, ridiculous club energy.

For Kah-Lo, though, this is not some random second wind. Ten years after “Rinse & Repeat” earned her a GRAMMY nomination, and following recent solo cuts like “Somersaults” and “Suddenly That’s Strange,” she is back in the dance-pop lane with more control, more bite, and her own Lagos Way Records behind her.

In this Q&A, Kah-Lo talks “In This Bih,” working with Chris Lorenzo, independence, Ibiza, and why she is done waiting for permission.

Hey Kah-Lo, thanks so much for joining us! How has 2026 been treating you so far?

It’s been quite lovely! No complaints.

“In This Bih” has taken on a life of its own, from EDC Vegas to the Shazam charts to millions of streams. When did you first realize this track was turning into something much bigger than a release cycle?

I knew it would be bigger than a release cycle when we made it. It sounded big from the first demo. Chris and I immediately knew it was special. Post-EDC, though, it was definitely jarring to see a routine post before I hopped on a plane absolutely explode by the time I landed. I thought it was a bug.

What has it been like watching that reaction build in real time, both online and on the dance floor?

Definitely exciting. I’ve been making music professionally for a while now, so it’s really cool knowing my artistry can still resonate with people through cultural shifts. We’re in a much different time, and I’m a much different person since my first club anthem, so it’s a great feeling.

There’s something brilliant about how “In This Bih” keeps it simple and still hits like a cannonball in the club. It’s loose, fun, and immediate. What kind of headspace were you in when you wrote it?

I had just been out all night in LA the night before with Aluna and Aliyah’s Interlude. I hardly do that these days, but when I do, I go all out because I hate to waste an outfit and a mug. It was still so fresh in my mind, I just wrote about my experience. I always write about my experiences or life through my own lens.

What was the studio chemistry like with Chris Lorenzo, and how did his production shape your delivery?

Chris is great in that, while most DJ/producers approach dance in a topline-from-vocalist type of way, he wanted to actually chat so we could get something authentic to both of us. We probably did more talking than recording, and I think that’s why I was comfortable enough to flow so naturally.

I’m very protective about my art because I saw early on how singer-songwriters are undermined in the dance community, so I try to avoid even working with people who have that topline approach. I believe in true collaboration, where both worlds can come together. He’s been doing this for a while as well, and was experimenting with different styles of music in his sets. He sees things from a DJ POV, and I see things from a performance/dance floor POV, and I think that’s the only way to get a track like that. We definitely wouldn’t have come up with that if it was just a send-toplines situation.

You’ve built a career out of sounding unmistakably like yourself on records with very different producers, from Young Franco and SOFI TUKKER to IDRIS, Baauer, Jamie Jones, and many more. What makes a collaboration feel right to you?

If I’m respected as a songwriter and my input is genuinely valued, that’s all I need. Simply, having the space to be myself. As a Nigerian, being your authentic self is in itself a radical act, and I have absolutely no interest in being in spaces where that won’t be the case. I also have to be really proud of the work and be able to stand by it as a performer.

Now that you’re independent and running Lagos Way Records, what does that control allow you to protect or push further?

My art as is. I’ve spent a ridiculous amount of time in meeting after meeting looking for backing, where people tell me my success isn’t mine because the songs that do well aren’t mine, or that they will sound better if I just collaborated with randomhotdjatm. Thankfully, I’m not as naïve as I was when I started, so I know that’s not true.

I’m equally as involved in the creation of those songs as I am with mine. They just have the backing to perform better. That’s how an artist like RAYE could have 20 million listeners, but still not be allowed to release her album. She went independent and is having a wonderful career releasing her songs as they were intended, with people who are truly in her corner. I decided to do the same, because I’m not going to wait around for people to give me permission. My songs are great as is, and my mission with my label is to have them reach the people who agree.

After ten years of big records, strange turns, and new beginnings, what still excites you about making club music?

The four to six times a year I go out dancing all night, my feet hurting, and I remember how much fun it was before the hangover hits. I won’t be young forever, so it will be exciting to listen back to it all and remember the incredible night I immortalized through song.

What are you most looking forward to in summer 2026, and do you have any projects in the works that you can tell us about?

Going back to Ibiza! I haven’t been in a long time. I’m wrapping up my solo project and hoping to have that out before the year ends.