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Brian Lomba: the songwriter and composer the Pinpin OSP credits point to

Published October 20, 2026

Brian Lomba has no performer catalog, no published biography and no verified official account. He has something rarer in current bouyon: a songwriter and composer signature that covers almost the whole catalog of Pinpin OSP, one of the most active studio names in recent Guadeloupe bouyon. The platforms credit him as a songwriter on “Make it pop” with Edday, on “On Fwa” with Shanika and on “Don't Play”, and as sole songwriter and composer on “Ti bébé”, “AN NI”, “Open Like Dat” and “BACK IT UP”. One listing goes further than all the others: it credits “Ti bébé” to “Brian PINPIN OSP Lomba”, the two names fused into a single credit. And in 2025 the same signature appears outside the VGM Product circle, as a co-writer of “Vite Fait”, a track on Meryl album “La Dame”. This profile is a credits file: it publishes every verified line, says how the platforms spell this name, and also states, in plain sight, everything the public record does not contain.

A name that exists only in the credits

Start with the central fact of this file: Brian Lomba appears in no consulted source as a performer. No record credits him as a singer, no listing presents him as a lead artist, and no artist page carries his name. He appears only in the section the public reads least and the industry reads most: the composition and lyrics section, the one that decides who wrote the song. On the two Shazam pages opened for this profile he is listed as a songwriter, alongside the performers Pinpin OSP, Edday and Shanika. On Deezer he is most often listed twice per record, as writer and as composer.

The platforms spell this name three ways, and those three forms are the heart of the file. The common form is “Brian LOMBA”, family name in capitals, the form in the credits of “Make it pop”, “On Fwa”, “Don't Play”, “Vody”, “Open Like Dat”, “Douxtcha” and “BACK IT UP”. The long form is “Brian Marvin Lomba”, published by Deezer as sole writer and composer of “AN NI”: a middle name, Marvin, that appears nowhere else in the sources consulted. And the fused form is “Brian PINPIN OSP Lomba”, published by Deezer as writer and composer of one of the two “Ti bébé” versions listed on the platform: the artist stage name, PINPIN OSP, inserted between the writer first name and family name.

What is that fused form worth? This profile presents it for what it is: a credit published by a major platform, not an identity statement signed by the man himself. But it does not fall from the sky. It joins a convergent set: the same writer name across almost a whole catalog, records where he is the sole writer and composer, and an official video, “SEE U”, whose published auteur line names the artist own account, @PINPINOSPOFFICIEL, as if the public signature and the credits signature answered each other. The simplest reading of those documents, and the one this profile keeps while naming it as a reading, is that Brian Lomba is the writing name of the man behind Pinpin OSP, the songwriter and composer of the project, where “Pinpin OSP” is the billboard name.

What the sources do not give, this profile does not invent. None publishes his birthplace, his age, his path, or a single interview. The geographic context of the file is the context of the catalog: records in French and Creole released on VGM Product, a producer named Luchshiy, a video director whose name carries the 971 code of Guadeloupe, and one record composed with DJ Taffy, a central figure of Gwada bouyon production. Brian Lomba is therefore documented as a writer of the Guadeloupe circuit, by his credits and by them alone.

The Pinpin OSP workshop: writer and composer of the catalog

The Pinpin OSP artist page on Deezer, opened for this profile, lines up the catalog records with their full credits, and the result has a regularity that owes nothing to chance. On “Ti bébé”, 2 minutes 55 in a first version, Brian Lomba is credited alone, as writer and as composer. On “Open Like Dat”, 2 minutes 30, he is again credited alone in both roles. On “BACK IT UP”, a record shared with Ted la and CK Gee, 2 minutes 25, he is again the sole published writer and composer. On “AN NI”, 2 minutes 21, the same single hand is credited under the long form, Brian Marvin Lomba.

That regularity draws a workshop rather than an occasional collaboration. In current studio bouyon, many records circulate between beatmakers, topliners and guest singers, and the credits split into five or six names. Here the dominant pattern is the reverse: one billboard voice, Pinpin OSP, and one writing name underneath, repeated record after record. The lengths confirm the format: short records, between 1 minute 42 and 3 minutes 26 in the pages opened, cut for the dancefloor, the feeds and the carnival mixes, written and composed by the same hand.

The file holds one counter example, and this profile publishes it because it makes the rest more credible. “My Lolly”, another Pinpin OSP catalog record listed by Deezer, carries no Lomba credit: its published writers are Yoan Courcet, Naima Dimina and Pinpin OSP himself, and its composers Jehan Dagnet and Carcheline Cereme. The stage name signs there as a writer, in its billboard form, where the other records sign Brian Lomba. Far from weakening the file, that variation sharpens it: in this catalog, the writer seat is held in turn by the billboard name and by the Lomba name, never by a third house writer. That is exactly how a project behaves when the performer and the writer are the same person, signing now under one name, now under the other.

There remains the exact role of VGM Product, the banner of the two singles documented by Shazam. The official “SEE U” video credits VGM Product with the recording, mixing and mastering, and YoJoshii with the production. Brian Lomba does not appear in that video description, which is consistent with the whole file: his name lives in platform metadata, not in public descriptions. He is a writer of the streaming era, visible only where the rights are declared.

The writing collaborations: Edday, Shanika, YasBeats and the others

When Brian Lomba does not sign alone, he signs in a team, and the list of his co-writers maps the VGM circle. The oldest record in the file is also the most shared: “Make it pop”, by Pinpin OSP and Edday, released on November 2, 2023 on VGM PRODUCT, in French, at 160 BPM, the reference tempo of modern bouyon. Shazam credits Edday, Brian Lomba and Corane Vincent as songwriters, and Luchshiy as composer. Deezer publishes a slightly different version of the same credit: writers Edday, Brian Lomba and Corane Vincent, composers Edday, Luchshiy, Brian Lomba and Corane Vincent. The two platforms agree on the essential point, Lomba presence as a writer, and this profile flags the difference instead of smoothing it over: credit metadata varies from platform to platform, down to the detail.

The second single documented by Shazam is “On Fwa”, a duet by Pinpin OSP and Shanika, released on June 8, 2024 on VGM PRODUCT', in French. Its published songwriters are Shanika and Brian Lomba, two names only: the guest singer and the house writer, on an equal signature footing. The record is the most visible of the catalog in this site files, and its writing credit is the simplest in the Lomba file: no separate composer published by Shazam, no extended team, just the two signatures.

Around those two singles, three more records opened on Deezer show Lomba in co-writing. “Don't Play”, 2 minutes 13, is written by Brian Lomba and Yovan Andre, and composed by YasBeats, Brian Lomba and Yovan Andre: producer YasBeats enters the signature there, the classic bouyon pattern where the beatmaker composes with the writer. “Douxtcha”, the shortest record in the file at 1 minute 42, is written and composed by Brian Lomba and a name the platform publishes in lower case, “stanley henri”. And “Vody”, 3 minutes 26, the longest record in the file, is written by Brian Lomba alone and composed by DJ Taffy and Brian Lomba: DJ Taffy, a central producer of bouyon gwada and of the Lejuh circle, shares the composition there with the VGM house writer.

Taken together, those credits describe a writer inside a stable team rather than an outside hired pen. His co-writers are the performers themselves, Edday and Shanika, the producers of the circuit, Luchshiy, YasBeats and DJ Taffy, and recurring signatures of the same catalog, Corane Vincent, Yovan Andre and Stanley Henri. None of those names is a name of the Paris industry or of a big outside publisher: it is the organisation chart of a Guadeloupe workshop that writes, composes and produces inside the same perimeter, and whose main pen is held by Brian Lomba.

“Vite Fait”: the credit that leaves the circle, with Meryl

The most important credit in the file, by its reach, is not a Pinpin OSP record. It is “Vite Fait”, a Meryl record, which the Deezer page of Pinpin OSP lists as track 12 of the album “La Dame”, with a length of 2 minutes 22. Its page, opened for this profile, publishes two writers, Cindy Elismar and Brian Lomba, and five composers, Cindy Elismar, Brian Lomba, Joshua Rosinet, Novytch Hereson and Reynald Rulle. Cindy Elismar is the birth name of Meryl, the Martinican singer and rapper, and the biography published by Deezer notes that “La Dame”, released in 2025, is the album that placed her twentieth in the French album chart in December of the same year.

That credit changes the scale of the file for three reasons. First, it sits outside the VGM catalog: Meryl is neither an artist of the house nor a guest of Pinpin OSP, and “Vite Fait” is not a Pinpin OSP record, it is a record on her own album, where the Lomba name appears only as writer and composer. Second, it is recent: “La Dame” is a 2025 album, later than the VGM singles of 2023 and 2024, which shows the signature still active, and on the move, at the time of research. Third, it is collective in a different way: the three other composers of the record, Joshua Rosinet, Novytch Hereson and Reynald Rulle, appear on no other credit in the Lomba file consulted, which places this record in a different workshop, the workshop of Meryl album.

This profile avoids two symmetrical exaggerations. It does not make “Vite Fait” a Brian Lomba hit: the record is a Meryl record, carried by her album and her path, and Lomba is one of its two writers and one of its five composers. It does not treat it as a lost line either: in a genre where the central question, the one this site documents page after page, is who the credit returns to, a Guadeloupe bouyon writer signed on the album of one of the most exposed Antillean artists in France is a fact that counts. It is the first trace, in the opened sources, of this pen circulating between the Gwada studio circuit and the album industry.

The reader who wants to hear the pen before the name will start with the records it signs alone, “Ti bébé”, “AN NI” and “Open Like Dat”, then the two singles documented by Shazam, “Make it pop” and “On Fwa”, and finish with “Vite Fait” inside “La Dame”. The context of the scene where those records circulate is read on our bouyon Guadeloupe page, and the billboard artist catalog on our Pinpin OSP profile.

What the file does not say, and why that must be said

A credits file demands a particular honesty, because its silences are as informative as its lines. First silence: the dates. Only two records in the file carry a release date verified by an opened page, “Make it pop” on November 2, 2023 and “On Fwa” on June 8, 2024. The Deezer pages opened for “Ti bébé”, “AN NI”, “Vody”, “Douxtcha”, “Open Like Dat”, “Don't Play”, “BACK IT UP” and “Vite Fait” publish lengths and credits, but no release date in the text consulted. This profile therefore does not date those records, and does not order them in an invented chronology: it orders them by function, alone or in a team, inside the catalog or outside it.

Second silence: the person. No source consulted publishes a biography of Brian Lomba, no birthplace, no age, no training, no interview, no photograph. The middle name published by Deezer, Marvin, is the only personal data point in the whole file, and it fits in one word of one credit. No social account in the name of Brian Lomba was verified during this research, and this profile links none: the only official link carried in the structured data of this page is the Deezer artist page of Pinpin OSP, opened during the research, because that is the page that publishes the credits analysed here.

Third silence: the figures. The opened pages do not publish, in the text consulted, any audience, stream count or writer income, and this profile advances none. That silence is itself a fact of the genre: the economy of bouyon writing, the writer shares, the advances and the sync placements, leaves almost no public trace, although that is where the question of who lives from this music is decided. A writer name repeated across a whole catalog and on a charted album in France carries, in that economy, a weight that video views do not measure.

If Brian Lomba one day publishes a biography, an official account or credits under another project name, this profile will be completed and dated, like every page on this site. In the meantime the file holds ten verified records, three forms of one name, two writing houses, VGM Product for the singles and Meryl album for the outside credit, and an identity reading presented as a reading. That is little for a life, and a lot for a credit: in bouyon, many pens do not even have that.

Why this name counts: credit as the bouyon issue

This profile is not the only one on this site built on credits rather than on a biography. The LGC file, another name in Guadeloupe bouyon, rests on the same kind of documents: initials with no explainer, and a recurring team of writers that the song pages draw line after line. That resemblance is no accident of the research, it is a property of the current scene: Gwada studio bouyon moves through workshops, with short billboard names and stable writing teams, and the platforms are often the only place where those teams become visible.

Inside that landscape, the Brian Lomba signature has a particular shape. Where LGC spreads the writing across four or five recurring names, the Pinpin OSP catalog concentrates the writing on a single name, which signs half of the documented records alone and co-signs the others. That concentration makes him a mandatory passage point of his catalog: no record of the main run without his line, with the published exception of “My Lolly”. For the artists, publishers and journalists who follow this scene, that is exactly the kind of name worth knowing how to read, because it says who holds the sound and the words of a project behind the billboard name.

There is finally the question this site asks everywhere: bouyon was born in Dominica, and part of its value is now made in the studios of Guadeloupe, Martinique and France. Knowing that a writer of the Gwada circuit signs the records of one of the most regular VGM projects, then a record on the charted album of a Martinican artist signed to a major, is documenting that making at the level where it is decided, the level of writer shares. The name of Brian Lomba will not headline the posters. It is already in the lines that remain when the posters come down.

To place this file inside the current wave, our bouyon playlist follows the releases of the Dominican and Guadeloupe circuit, our bouyon producers page presents the workshops of the genre, and the Pinpin OSP profile gives the billboard artist catalog, record by record, with its own sources.

Frequently asked questions

Who is Brian Lomba?

Brian Lomba is a songwriter and composer name in Guadeloupe bouyon, documented only by platform credits. Deezer and Shazam credit him across almost the whole Pinpin OSP catalog, as a songwriter on “Make it pop” and “On Fwa”, and as sole songwriter and composer on “Ti bébé”, “AN NI”, “Open Like Dat” and “BACK IT UP”. One Deezer listing credits him in the form “Brian PINPIN OSP Lomba”, and another in the form “Brian Marvin Lomba”. No source consulted publishes his biography.

Are Brian Lomba and Pinpin OSP the same person?

No source states it in so many words, and this profile presents the link as a reading of the credits, not as an established biographical fact. The published pieces converge: a fused Deezer credit, “Brian PINPIN OSP Lomba”, writer and composer of “Ti bébé”; the same writer name across almost the whole catalog; and one record, “My Lolly”, where the writer seat is signed by Pinpin OSP himself. The simplest reading is that Brian Lomba is the writing name behind the billboard name Pinpin OSP.

Which records has Brian Lomba written for Pinpin OSP?

Ten records are documented by opened pages. As sole writer and composer: “Ti bébé”, “AN NI”, “Open Like Dat” and “BACK IT UP” with Ted la and CK Gee. In co-writing: “Make it pop” with Edday and Corane Vincent, composed by Luchshiy; “On Fwa” with Shanika; “Don't Play” with Yovan Andre and YasBeats; “Douxtcha” with Stanley Henri; and “Vody”, composed with DJ Taffy. The record “My Lolly” carries no credit in his name in the sources consulted.

What is the link between Brian Lomba and Meryl?

One album credit. “Vite Fait”, track 12 of Meryl album “La Dame”, released in 2025, is published by Deezer with two writers, Cindy Elismar, Meryl birth name, and Brian Lomba, and five composers, Cindy Elismar, Brian Lomba, Joshua Rosinet, Novytch Hereson and Reynald Rulle. In the opened sources, it is the only Brian Lomba credit outside the Pinpin OSP catalog.

On which label were the Brian Lomba records released?

The two singles documented by Shazam were released on VGM Product, spelled VGM PRODUCT on “Make it pop” in 2023 and VGM PRODUCT' on “On Fwa” in 2024. The official “SEE U” video, another Pinpin OSP record, also credits VGM Product with the recording, mixing and mastering. The Meryl credit, “Vite Fait”, belongs to the album “La Dame”, outside that banner.

Where can I hear the records written by Brian Lomba?

Through the Pinpin OSP catalog: “Make it pop”, “On Fwa”, “Don't Play”, “Ti bébé”, “AN NI”, “Vody”, “Open Like Dat”, “Douxtcha” and “BACK IT UP”, then through “Vite Fait” on Meryl album “La Dame”. Our bouyon playlist follows this Guadeloupe wave, and the Pinpin OSP profile documents the billboard artist record by record.

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