A 1-Listen Review of Somadina’s Debut EP, ‘Heart Of The Heavenly Undeniable’
a glittering resume of punk-inspired songs
Somadina has always been a special artist. Before the Nigerian-born Netherlands-bred musician was ten, she’d already composed songs, inspired by her experience with playing classical music. Her childhood and teenage years were spent in several countries of the world, imbibing a global mindset in the youngster who had gotten hip to R&B through the parental influence of her father.
During the nascent stages of Alte influence across parts of West Africa, Somadina emerged with the perfect blend of eclectic musicianship, sociopolitical awareness, and the idea of what she wanted her aesthetic to look like—that is, influenced by Old Nollywood fashion and punk flagrance. Those sprawling representations are polished by the music’s enthralling, energetic quality, which has grown even more pointedly away from the dreamy-eyed songwriting Somadina was known for in her early career.
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Having built her fanbase, collaborated with influential figures in the alternative scene (Odunsi, Lady Donli, Ogranya, etc.), and stoked the flames for a project which depicts her artistic growth, Somadina has now released her debut EP ‘Heart Of The Heavenly Undeniable (HOTHU)’. Across eleven tracks the project features Odunsi, The Cavemen, Zamir, Chi Virgo and LOla, all of which are familiar names that (expectedly) would enrich the sonic tapestry.
In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.
“TIME 2 TIME”
Synth pads starting out this one, the slow rubble of country-like drums underneath. Somadina’s singing now—there’s a really epic sheen to her vocals, as though positioned in an elevated space. The drums are completely present now; bold drums which carry her strong voice with swinging intent. It’s a very atmospheric opener, with little to no responsibility placed on the writing, rather it’s the glorious mash of cinematic synths and reggaeton-inspired drum playing that lulls you in. Given the sonic choice, there’s every chance that ‘HOTHU’ will play out through the synergy of its sound rather than its thematic spectrum. But that’s all speculation—let’s get into track two.
“Y I WANT U”
The pace has decidedly increased with this one. Early into her verse, Somadina references “the psychedelic feeling” and it’s audible so far: these records are cut from the glossy feel of rock-inspired sonics, not quite unlike what Santi curated on ‘Subaru Boys’. Somadina’s take however cues in more soulful and R&B influences, resulting in sections like these where she sounds really intimate, lulling her desires into being. What’s THIS electric rap cadence? She is constructing images with these songs—I see the vision. Like, imagine a dancefloor swirling with strobe lights and black bodies, hair swinging and sweat dripping—imagine the music that’s most likely to be played in such a setting, and you get “Y I Want U”. It’s two for two so far; a really strong start to the album.
“EVERYBODY BLEEDS”
Rock-inspired guitars to start out this one. Actually more soft punk than rock, a sound listeners of twentyone pilots would relate to. If you peep it, there’s also a reggae-esque bounce to these progressions. Okay, Somadina’s singing now—it’s more audible than she’s let on so far. The ache of heartbreak is the subject matter here. The lyrics are very cutting, poetic, and raw. “Speeding off a speakerphone” is a very unique metaphor, and she’s building off its brilliance in this hook and chorus. “Tell me I’m okay now,” she yells with painful intensity. I’m in my feelings over here, man. WHAT A RECORD. Even with the obvious angst she still maintains the triumph of self-confidence (“I won’t second guess my pride”). Me too, Somadina, me too.
“IMAGINE GIVING A FVCK (FT. CHI VIRGO)”
Self-confidence from the previous track becomes full-out rebuttal here. The mood is really explosive, quite in-sync with the refusal that lies at its heart. Reinvigorating her rapping, the song’s intensity is balanced with lyrical clarity in these middle parts. It’s funny, I get the sense she’s spitting affirmative lines but I might need a revisit to really grasp their weight. Background yells and raspy, energetic singing sets this one apart; a beat switch here—more guitars, more yelling of the “I don’t really give a fuck” refrain. The track’s over—it’s a short song after all, but how thickly its layers run.
“WDYWFM (FT. LOLA)”
Ladies and gentlemen, it’s an honour to announce I decoded the abbreviated title (what do you want from me?) before this song went underway. Three added points on my Gen-Z membership card LOL. The sound of a car crash had started off this one, and the song continues in that mood of abandonment. Really loud guitars and drums here—it’s a pleasant surprise to hear Somadina going all out rock on this project. The confidence is palpable. This song reminds me of Shamir, a psychedelia-influenced artist whose “Diet” is one of my favourite records ever. A brooding closer to the record, the guitars are swept away, the dreamy twinkle of piano chords enter, Somadina’s vocals serenade. It’s a rather fine depiction of mood extremes.
“I SAW AN ANGEL ON THE ROOF & WEPT”
As you can probably tell, I’ve really enjoyed the titles on this project. Their hipster, poetic attitude is mirrored in the music, and that has been a thrill so far. When I saw the tracklist for this album, I was most piqued by this one. The narrative harmony is only bettered by its shock value, which comes as a result of the location of the roof and the outcome of weeping. Why tears? Sombre piano notes to begin the record reveals an emotion of longing. “Red tide, burning in your eyes/ He got new curls, falling out da skies,” is such a descriptive couplet, but the record doesn’t continue with such language. Rather, a melange of ahs and tell me says runs the time out. Would have loved to hear Somadina keep up the angel metaphor throughout though; would have made a more complete record.
“CRZY GIRL”
From the first beat drop, there’s something in here that leans towards more conventional pop music. Like it could be a Beyonce record in an alternative universe. I really like this refrain of “so crazy, so crazy”, but the drums sound a little tired. In any ways, I’ve heard better variations of this record on the album; not really crazy about this one. I appreciate the mood though—it’s self-affirmative, the kind that could soundtrack a social media trend if Somadina is into those things.
“DREAMS”
A song titled “Dreams” has a good chance of being great. Since the beginning of time, haven’t we tried to understand its mystery and endlessness? The tempo here is unique; arranged in a less obvious way, the drum patterns create a relaxed atmosphere which is charged by the synths underneath. Somadina’s voice works as an instrument here, cutting in-between the sharp metres of sound to create a surrealist image in the listener’s mind. I will surely be revisiting this one. What’s that closing voice over about lyrics coming from heaven? It’s quite the plot twist.
“DIRTY LINE (FT. ZAMIR)”
Vocoder-inflected refrains of “Dance” makes the intent of this record known early into its runtime. The mood is more electronic than rock, bursting with a myriad of synths which succeed in stuffing the record. Perhaps in the appropriate setting I might appreciate this one better, but right now, it’s not quite hitting. A regrettable skip, cos I really had high expectations for this collaboration.
“SMALL PARADISE (FT. THE CAVEMEN)”
Considering the path Somadino has so far charted on this project, it’s exciting to hear how this would pan out. An evocative guitar twang, tension building through the repeated notes and the Igbo-inflected vocals of Benjamin (one half of The Cavemen) being utilised as a sort of instrument, almost as though sampled. The chords are yet being repeated, setting the anticipation for a beat drop very high. Delicate, dreamy, dance-worthy, the absence of sung vocals have so far been felt minimally. It’s an unconventional choice but it’s working. Everything drops: the last half-minute of “Small Paradise” is backended by lush, languid guitar-playing and Benjamin’s signature adlibs. On first listen, it’s not what I expected but I’ll surely be revisiting.
“CITRUS TEARS”
We’ve come to the end of the album. Chill guitars form the soundscape of this one, and Somadina’s gently singing. Her tone and lyrics sound as though she’s come from a really far journey, and now has the chance of letting all the weight fall. She’s addressing an ex-lover or detractor; her lyrics open themselves to interpretation, but you can tell she’s feeling it deeply. That intimate perspective enlivens the writing, with lines like “lost in the streets, but I won’t be defeated” underscoring her resolve to forge on. Very affirmative, and she’s bringing out her soul more tenderly than she’s done all album long. The past few records have slowed down, now that I think of it. “Imma be the bullet shooting you down” is such a poignant image, and while I’ll surely revisit this record to understand her perspective better, that line more than sums the overall mood of the record. A voice-over from someone who loves her music closes out the album, a fine touch to its epistolary gaze.
FINAL THOUGHTS
Many adjectives spring to mind after hearing ‘Heart Of The Heavenly Undeniable’ but the most consistent is “assured.” Somadina’s debut is audibly influenced by the sprawling inconsistencies that make up life, and it’s testament to her artistry how she captures the angst so well. Lined with an assortment of colourful, grungy guitars, she comes full circle from the artistic evolution she embarked on after releasing the more grief-centred ‘Five Stages’, which was later deleted from streaming platforms because the artist didn’t think it properly represented her then-changing sound and ethos.
Somadina now fancies the visceral interpretation of similar moments, purposefully translating pain into bold records which allows one the space to shout. As a Nigerian woman, it’s common for respectability politics to be constantly required, to be quiet and humble in order to gain the world’s approval. Somadina doesn’t care for such trivialities—she rather delves into the edgy depths of her mind to create an album that’s at once unique and relatable. It’s so finely wrought that even when beauty eventually surfaces, there’s no fantastical depiction of its nature—it’s rightly recognised as something that’s always been there, seeking the right grasp to force it into reality.
Stream ‘HOTHU’ below.
Featured image credits/ChukwukaNwobi
Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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True Clrs Want People To Dance
True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu, aims to bring the dance...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people don’t dance at gatherings anymore. While partying, theoretically, includes other activities like talking to strangers, getting drinks, and conducting business, it is primarily geared towards dancing and living in the moment.
These days, however, there seems to be more emphasis on these other activities than actual partying. People are doom scrolling on the dancefloor or are more occupied with trying to take the perfect selfie. Enter: True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu that aims to bring the dance back to the parties by centering on the richness of African sound and the communities that love it.
“We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers,” Kofoworade tells The NATIVE about the inspiration for True Clrs over a Google Meet conversation in July. “Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas.”
Since its inception in 2023, True Clrs has hosted over 15 editions of its travelling party series across cities in the United States. In addition to a dedicated real-life following that engages with their series, they have also cultivated a robust online presence thanks to their meticulous branding and active CRLS YouTube page that features various thrilling DJ sets.
Ahead of the latest Houston edition of True Clrs, which featured ODUMODUBLVCK and Sarz headlining the Global Sounds Stage and others like Native SOUND SYSTEM’s DJ Sholz, Lowkey Ade, and Khulumars on DJ duties, we caught up with Adeola Kofoworade to discuss how they’ve managed to position True Clrs as the go-to party series in Texas, what makes them unique, and what their long-term plans are.
What inspired True Clrs?
We originally started True Clrs about two years ago because we noticed that there was a space in Dallas that we could infiltrate. We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers. That’s something pretty notable down here in the South. In clubs, there are a lot of sections and no big dance floors, so people are stuck in their sections without really interacting with other people. Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas. At first, we started with Afrobeats and Amapiano-centred parties, but then we started branching out to other genres as well.
How have you been able to position True Clrs as one of the go-to diaspora-focused party series in the U.S, especially in Texas?
We try to be innovative. We always try to make every event better than the last one. So if you came to one of our events the previous month, we try to switch things up and make sure you have a better experience the next time you come. We do this by booking notable DJs from around the country and even around the world. We also started booking a lot more talents. Last year, we had Lancey Foux; we had Sholz, who brought ODUMODUBLVCK; and we also had Skyla Tyla. This year, we’re looking to do more of that so we can always give our audience a notable experience.
How do you balance catering to the African diaspora with appealing to a broader audience that might be unfamiliar with the music and experience?
There are a couple of ways we try to do this. First, since we have monthly events, we try to switch between different genres and vibes. So let’s say, one month we have an Afrobeats and Amapiano party, the next month we could switch to this concept that we call the R&B rave. In the R&B rave, we basically play all types of R&B music, whether it’s old, contemporary or alternative, and we curate a rave-like setting.
We also run this concept where we have like two or three stages playing different genres. We could have one stage playing Amapiano, the other R&B and the other more global sounds. I guess it just depends on the venue we use. But we’re able to offer different experiences even at the same party.
Are there any other unique elements that set the True Clrs experience apart from other nightlife events?
One of our main appeals is recording DJ content. I know DJ content has become saturated recently, but what separates us is that a lot of our content is very genuine. It’s not made up or staged. We get real-time reactions from people. A lot of the time, people don’t even know they’re being filmed. Our content makes us notable, and it’s helped push our brand forward.
Since you began True Clrs, how have you been able to cultivate a strong online presence as well as a thriving community in real life?
With our online presence, it’s really been our content that has helped put us out there. We’ve had a couple of reels or YouTube sets go viral, and that’s definitely helped our online presence. Also, just being the kind of people we are, we take our time when it comes to branding True Clrs. We get a lot of feedback from people regarding our content, and we take it into account moving forward. For our real-life community, my partner and I had already been heavily involved in the entertainment space and the African community here before we began True Clrs. So we got a lot of support when we first started, and we’ve just kept building from there.
What’s the long-term vision for True Clrs? Are there any plans to expand into other U.S. cities or even international markets?
Definitely. Last year, we had our first international event in Addis Ababa, Ethiopia. My partner was up there for a holiday, and we decided to throw an event there. In the future, we do plan to expand to other countries, whether in Africa or Europe. With our connections with talents like Lancey Foux, Skyla Tyla, we’re also looking to see if we can put together festivals. That’s what’s on the horizon for True Colors.
What would you say to someone who’s never been to a True Clrs party? What should they expect, and why should they come?
Our goal is community curation through music. So what I would tell someone who’s never been to a True Clrs party is they should come with an open mind. They should trust our DJs because they might hear songs they’ve never heard before and still be able to have a good time. Also, while we don’t force people to interact, we encourage people to interact and dance while listening to good DJs.
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Best New Music: Tiwa Savage and Skepta Are Stuck In A Loop On “On The Low”
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she emerged on the Nigerian music scene in 2011, Ms. Savage has set an inimitable standard in terms of platforming the point of view of women at the pinnacle of Afropop, working to show that women are multi-dimensional and layered, capable of going through the motions of joy, angst, distress, and optimism just as much as the next person. By unapologetically leaning into the very minutiae of what makes her tick as a woman, she’s become a fan favourite and an undisputed legend of the genre.
Impressively, she’s done this while making great strides sonically. From the throbbing afropop of ‘Once Upon A Time’ to the swaggering house-inflected triumph of ‘R.E.D,’ and the dense polyrhythmic structure of ‘Celia,’ Tiwa Savage has continued to tincture her R&B-adjacent sound with influences from home and abroad. It is an accurate reflection of Tiwa Savage as a person: grounded by her Lagos heritage but shaped by global influences. For the last six months, she has been talking up her forthcoming fourth album, describing it as a full-throttle return to the R&B sound that was her stock in trade before she returned to Nigeria in 2011 to establish herself as an Afropop powerhouse.
In April, she released the emotive “You4Me,” clearly establishing the direction for her new album, ‘This One Is Personal.’ Produced by Mystro Sugar, “You4Me” put a fresh spin on Tamia’s ’90s classic “So Into You” with percussion work by Magicsticks adding a decidedly Afropop sheen to the song. Upping the ante, Tiwa Savage returned with “On The Low,” a delightful sung-rap bop featuring British-Nigerian rapper, Skepta. Like “You4Me” before it, “On The Low” is steeped in R&B tradition, finding Tiwa Savage pining after a love that feels like a taboo or forbidden pleasure. Produced by Rymez and Mystro, it is a surefire pointer that Tiwa Savage wasn’t joking when she said ‘This One Is Personal’ had overt R&B influences.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is helping to propel her artistry to new heights. Just as the soundtrack for ‘Water & Garri,’ her debut as a filmmaker, pared down universal emotions like longing, desire, and anxiety into digestible bits on standouts like “I Need You,” “Lost Time,” “Love O,” her latest song chronicles the intangibles of a romance that’s quite not out in the open. “I know you want to link on the low / We have to stay discreet, you don’t know,” she sweetly intones on the song’s hook, clearly obfuscating the true status of the relationship but revealing just enough to let her listeners know that the dynamic of this relationship is not the usual.
It’s a premise that is established from the opening lines of the song when Skepta breezily starts with an offer to travel, presumably after being unavailable for a while. “Yeah, I’m off tour, we should celebrate / Dedicate some time for you, baby, it’s a date,” he says. It sets off a sequence where Tiwa Savage admits to being annoyed by the complexities of this relationship.
Still, there’s something about the thrills of these tenuous romances that keeps one tethered to them, and Tiwa Savage manages to capture the dilemma of the situation when she sings, “Boy, you make me stressed, you don’t know / Then you send me sweet texts on the low.” Her measured delivery and tonal inflections lend an air of believability to the story that would be inaccessible in lesser hands.
It helps that even as she revisits her R&B origins, the singer still maintains a strong connection to the sonic references that made her an Afropop juggernaut. There is seriously impressive percussion across “On The Low” with enough Yoruba ad-libs sprinkled across to remind any doubters that this is a Nigerian star paying homage to an elemental part of her evolution without losing touch with her roots. It sets the stage for This One Is Personal’ perfectly.
Listen to “On The Low” here.
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