How 2Baba became the conventional blueprint for mainstream longevity in Nigerian music
In the absence of a rule-book, the legendary singer has set the tone for what it means to be a long-serving artist in Nigerian music
“You’re only as funky as your next cut” – Andre 3000, “Rosa Parks”
Towards the mid-‘00s, 2Baba—then known as 2Face Idibia—pivoted into a solo career. In the preceding years, he was one-third of Plantashun Boiz, the seminal group who debuted in the late ‘90s and opened the new millennium with two impactful albums, ‘Body & Soul’ (2000) and ‘Sold Out’ (2003). According to industry lore, 2Baba was key to the end of the group’s dominant run, after opting to sign a solo recording deal with powerhouse label at the time, Kennis Music. Justifying his decision, 2Baba continued from where he left off and instantly hit the ball rolling as a standalone act, becoming one of the continent’s biggest artists as the decade wore on.
Along the way, he hit a valley which eventually proved definitive within the overall picture of career. In 2008, 2Baba was in an unfamiliar situation: For the first time in his illustrious, decade-long career, the singer put out a solo album which wasn’t met with unanimous acclaim. Prior to this, every 2Baba album was far from just any other release; they were hotly anticipated events that lived up to their billing, both in terms of quality and instant impact. For an artist who arguably had four classic albums under his belt (Plantashun Boiz included), the lukewarm attitude to his third album was deafening and it was the first time 2Baba seemingly stumbled, which led many to doubt the godly heights he had made the standard today.
Just two years before, 2Baba had obliterated any idea of a sophomore slump, following up his classic debut album, ‘Face 2 Face’, with ‘Grass 2 Grace’, an equally classic album which is widely regarded as one of the greatest pop albums in contemporary Nigerian music. Given this back to back successes, his third act was expected to continue this immaculate run. However, the resulting album, ‘The Unstoppable’, was anything but business as usual, and a lot of the criticism stemmed from the belief that 2Baba had failed to meet the standards of his previous work.
While his first two solo albums worked within the same blueprint—both were released under the watchful eye of Kennis Music—‘The Unstoppable’ took a more experimental bent, pushing 2Baba’s r&b fascination to the forefront, a move that wasn’t satisfying to many. I vividly remember when a secondary school classmate was trying to convince the whole class that ‘The Unstoppable’ was an instant classic, but none of the rest of us were having it. At the time, the tradition was to keep a new favourite album on repeat so we could brag about knowing all the lyrics, but this was the first 2Baba album many of us didn’t leave in for prolonged periods in our Walkman and CD players at home.
Revisiting ‘The Unstoppable’ over the 12years since it came out, it has become easier to appreciate the album’s experimental flair, however, it does fairly lack the lived-in writing and bold, indelible hooks that has defined many of 2Baba’s best and biggest songs. But back then, it seemed more like 2Baba was in decline, and it didn’t help that there was a relatively new set of superstars – Wande Coal, M.I Abaga, Banky W etc. – who were already showing out and taking Nigeria’s contemporary music scene into a new realm.
Music fans can be very fickle. At the first signs an artist isn’t delivering according to their standards, they begin to question the efficacy of the artist’s powers and allegiances quickly begin to wane. This is what makes Andre 3000’s quote resonate with many artists, especially those who aim for mainstream success; they can go on a run that makes them invincible, but the perceived failure of their latest work chips into their rep, sometimes very significantly. Without a quick turnaround back to their “best”, the listening public will continue with their lukewarm attitude until the artist effectively descends from the pedestal of constant popularity.
Acutely aware of the stakes, 2Baba made a supreme return to form in subsequent years, proving that he was too big and too talented to be counted. First came “Implication”, the song that reclaimed his position as one of the finest at dishing out club bangers, then came “Only Me”, one of the greatest feats of honest introspection in Nigerian music. Armed with these two smash hits, the singer put out ‘The Unstoppable: International Edition’ in 2010, a front-to-end experience of 2Baba’s glorious and transcendental powers. A mixture of the best songs off his previous album – some of which were reworked and remixed – and great new additions like “Take it Back” and “Raindrops”, the new collection saw 2Baba find the balance between his need for experimentation and catering to a wide audience.
It would be a bit of a stretch to consider the period around ‘The Unstoppable: International Edition’ as a resurgence for 2Baba, and that’s mostly because he never really lost the Midas touch that made him a spectacular artist. But with the gift of hindsight, it was a comeback of sorts, which in addition to reinforcing his legacy as one of the greatest Nigerian artists, became a cornerstone of the singer’s longevity.
In Nigerian music, it’s commonplace for artists to fade into oblivion at the first signs that they’re struggling. It was especially rampant for artists who broke out in the late ‘90s and ‘00s to exit the scene after a few tepidly received offerings, or become a shadow of their best selves if they chose to remain around. 2Baba sidestepped those damning options brilliantly, cementing himself as Nigeria’s foremost perennial superstar, and becoming the conventional blueprint for longevity with his continued dominance in the first half of the last decade. In this period, he continued to release hits (“Ihe Neme” “Dance Floor”) even though subsequent albums didn’t reach the same level of critical acclaim as ‘The Unstoppable: International Edition’.
These days, albums such as Burna Boy’s ‘Outside’ and ‘Twice As Tall’ , Davido’s ‘A Good Time’ and Fireboy DML’s ‘Laughter, Tears & Goosebumps’ have helped full-length LPs regain a new level of meaning in gauging an artist’s star power, however, it’s still a well-known fact that scoring big hit singles is the ultimate key. Even though his prominence is now a given at every point in time, 2Baba understands the need to refresh his relevance, and he’s used the singles game to his advantage even with his output significantly slowing down in the last five years.
Earlier this year, 2Baba dropped ‘Warriors’, his first album in nearly six years, and in that time he had a few periodic releases, features and a handful of hit songs. Most notably, in the summer of 2018—four years removed from his previous studio album, ‘The Ascension’ – the singer delivered “Amaka”, an instant fan favourite which went on to become one of the biggest songs of that year. The song itself is a reminder 2Baba’s unvarnished ability to make great, easy listening music, but at the same time it doubled as a way of showcasing that the legendary singer can finagle a hit song at any point in time.
Hits are unpredictable, artists rarely ever know what is going to be a big song because they don’t know how an audience will react, however, there’s a level of experience that helps already proven artists to position their music to appeal to the wider audience. 2Baba hasn’t entirely hung this current arc of his career on making and putting out songs with the intention that they all become hits, but he clearly knows how to make them and it’s served him well so far, even when he isn’t at his most prolific or absolute best.
By the standards set from the singer’s previous albums and just generally speaking, ‘Warriors’ is quite the middling affair, but it has its fair share of enjoyable bits. Earlier this month, he shared the Wizkid-assisted “Opo” as the latest single off the album, adding a colourful set of visuals to Blaqjerzee’s thumping, club-ready beat and the raunchy subject matter aided by lively performances from the two artists. If it wasn’t for the ‘rona, there’s little doubt in my mind that “Opo” will be in rotation on DJ sets at clubs and parties, but there’s still a probability for it to be the latest addition to 2Baba’s record of having a hit song in circulation at nearly every point.
As much as his overall worth will never again be tied to whether he can score hits or not, 2Baba’s recent years have shown that he still has more to offer Nigerian music. He’s in that rare position where’s he’s not “only as funky as [his] next cut” like Andre 3000 said, but can also show up with widely enjoyable music when he wants without question. Over two decades in, he’s epitomising what it means to add to a legacy rather than solely resting on his many laurels. Well over a decade after springing back from a less than ideal position, 2Baba has remained relevant to an audience that’s figuring out how to pay attention to multiple generations of superstars at a time, and he’s setting the tone for what it means to be a long-serving artist in Nigerian music.
Featured Image Credits: Youtube/2Baba
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THE INCREASING ALLURE OF NON-CONFORMITY IN NIGERIAN MUSIC
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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