In Nigeria’s entertainment industry, success is often judged by what happens under bright lights and on crowded stages. For Samuel Isong, however, the real work happens long before the spotlight comes on, on highways between cities, in tightly timed motorcades, and in the quiet coordination that keeps productions moving without friction.
As founder and CEO of Ride With Me Logistics, Isong has become one of the industry’s most reliable problem solvers, ensuring that the unpredictability of the road never spills into the public image of the brands and artists he serves.
An Akwa Ibom born entrepreneur with a background in talent management, Isong did not arrive at logistics by accident. He came to it after years of watching how the industry struggled behind the scenes.
“I’m an Akwa Ibom born entrepreneur and the CEO of Ride With Me Logistics,” he says. “Over the years, I’ve managed high stakes projects like Davido’s 5ive Album Tour across multiple cities and the first ever visit of the President of Burger King to Africa. Those experiences shaped how I think about world class logistics in a Nigerian setting.”
Solving an Image Problem
Before coordinating nationwide tours, Isong was deep in the music business, managing artists including Mr 2Kay. It was during that period that a recurring issue stood out to him, one that had little to do with talent and everything to do with presentation.
“I spent several years in the entertainment space and noticed something missing,” he explains. “When artists showed up for appearances, their transportation did not always match their public image. Many simply could not afford it, and it affected how they were perceived.”
In an industry where perception often translates directly to opportunity, those details matter. An artist arriving poorly represented on the road risks undermining the brand they have worked to build onstage.
“After I resigned from managing Ini Edo and Mr 2Kay, I knew I wanted to start something new,” Isong says. “Logistics was not being done well at the time, so I started researching touring, promotions, and business development. The idea was simple. If an artist could not afford a luxury car, I would still make sure they felt confident and properly represented.”
Building Something of His Own
The move from artist management to logistics was a deliberate pivot. While many expected Isong to remain behind the scenes in management, he wanted ownership, something tangible that could stand on its own.
A friend recognized his organizational instincts and encouraged him to take logistics seriously. That encouragement soon became Ride With Me Logistics.
“It was not easy at first,” Isong admits. “But I had always wanted to serve the entertainment space with something of my own. Managers are usually invisible. I wanted to build something original, something I could grow, and today I am proud of what we have built.”
Becoming the Industry’s Go To
As Nigeria’s music scene expanded beyond borders, Ride With Me Logistics grew alongside it. In the past year, Isong’s team has handled logistics for nearly every major tour in the country.
“These include Jameson City Takeover across major cities, Martell House, Martell On The Move, Odumodublvck’s Campus Tour, CKay’s Campus Tour, Davido’s 5ive Tour, Achievas Tour, Hennessy Artistry tours, Ruger Live, and Odumodublvck’s Eastern Tour with Jeriq,” he says.
Managing projects that range from corporate brand activations to high energy campus tours requires a balance of structure and adaptability, corporate discipline on one hand and street level awareness on the other.
Earning the Name
In an industry built on reputation, titles are rarely self assigned. Isong’s nickname, King of Logistics, came from a moment of recognition by one of the sector’s most respected executives.
“I think it came from consistency,” he says. “The CEO of Chocolate City, Abuchi Peter Ugwu, gave me that name after a project we handled. He looked at what we delivered and said, ‘It’s like you’re a king in this business.’”
The label stuck. Other clients began referring to him as number one, while a close associate from Davido’s camp called him Agba, a term that signals experience and authority.
“That’s when I really started to reflect on the impact of the work,” Isong says.
For him, the goal has not changed. Whether it is a global superstar, a campus tour, or an international corporate executive visiting Nigeria for the first time, the principle remains the same. The people who move the culture deserve to be moved with care, precision, and respect, every step of the way.
