Angel Maxine is Using Her Music to Protect Queer Lives in Ghana

Posted on by Melony Akpoghene

In 2021, Angel Maxine, alongside Sister Deborah and Wanlov the Kubolor, shared “Wo Fie,” a song whose title translates from Twi to “Your Home.” Released as a message of love, the song insists on queer people’s right to community and belonging. “I wanted the song to remind people that they are worthy of love, dignity and community, no matter what society tells them,” she tells NATIVE Mag. Five years later, “Wo Fie” has become the definitive anthem for Pride Month on the continent and beyond.

As the country’s first openly trans artist, Angel Maxine faces significant institutional risks simply for existing, yet she continues to show up. For years, Ghana’s state-sanctioned hostility has persistently closed in on the local LGBTQ+ community. Homosexuality continues to be criminalised under a colonial-era law that refers to “unnatural carnal knowledge.” In recent years, however, the situation has grown more intense with the introduction of the Human Sexual Rights and Family Values Bill. First brought forward in 2021 after an LGBTQ+ community centre in Accra was shut down, the bill has triggered harsher political pressure on queer people. 

 

Just last month, a new anti-LGBTQ+ bill passed in Parliament, increasing that pressure by criminalising parts of identity and speech, introducing prison sentences for simply identifying as trans or queer, intentional cross-dressing, and up to ten years for advocacy, funding, or reporting favourably on LGBTQ+ issues. For queer Ghanaians, it has always been a matter of life and death, and this bill fans the flames, showing just how oppressive the Ghanaian government is willing to be. For Angel Maxine, the fallout is devastatingly real. Her livelihood is being strangled, from lost brand sponsorships to cancelled opportunities, and her creative space has further narrowed, as many allies are now afraid to show public support.

Africans exist globally as the radical Other within systems shaped by race and colonialism, which is why it is incoherent that similar logics of exclusion are reproduced internally against LGBTQ+ Africans. Because queerness is often perceived as aberrant and transgressive, an anomaly outside the category of the Human, African homophobes are not just deeply hostile towards it but actively paranoid. This is the precise nuance that drives “Wo Fie.”

The track is a brilliant trap for bigotry, demystifying the myth of the sinister Other imagined as a supposed abstract sexual contagion existing somewhere out there. It makes a simple point: you hate LGBTQ+ people and you think queerness is deviant and frightening, but your “hairdresser could be LGBTQ… / your tailor could be LGBTQ… / your doctor could be LGBTQ / your bestie could be LGBTQ.” Your loved ones, the familiar faces around you, the people who share in the quotidian routines of your life, could be LGBTQ+. And while you should not only care about the LGBTQ+ people you happen to know personally, charity does begin at home.

 

In addition to contributing her art to support and protect the lives of the LGBTQ+ community in Ghana, Angel Maxine has been carrying out vital on-the-ground activist work in an effort to ensure that Ghana’s legislative chokehold fails in its primary objective of stifling the presence of the queer community.

We spoke with her about the realities of living and creating as a Ghanaian trans artist, the implications of the proposed anti-LGBTQ+ bill, and the sources of hope that sustain her vision.

“Wo Fie” has become a song that many LGBTQ+ Africans deeply connect with. When you first made it, did you imagine it would take on this kind of meaning?

When I created “Wo Fie,” I knew it carried an important message, but I never imagined it would grow into what it has become today. At the time, I was simply speaking from my own experiences and the experiences of many LGBTQ+ people around me who were longing for acceptance, safety and a sense of belonging.

The title “Wo Fie,” which means “Your Home,” came from the idea that every queer person comes from a home and deserves a place where they can exist freely and be loved for who they are. For many queer people across Africa, home is often complicated. Sometimes, the very spaces that should provide comfort become places of rejection. I wanted the song to remind people that they are worthy of love, dignity and community, no matter what society tells them.

A huge part of the song’s impact also came from the involvement of Wanlov the Kubolor and Sister Deborah. Their participation made the song into something bigger than my personal story. They understood the importance of creating a message of inclusion and solidarity. At a time when many public figures were afraid to openly support LGBTQ+ people, they chose courage. Their allyship gave the song even more strength and helped it reach audiences that may not have otherwise engaged with its message.

How does it feel knowing that many people across continents love the song and find it affirming?

Seeing people from Ghana, Kenya, Uganda, Nigeria, South Africa, the USA, Europe and beyond connect with “Wo Fie” has been one of the most beautiful experiences of my life. It showed me that our stories are interconnected and that music can create a sense of home even across borders. It is deeply emotional and humbling. As an artist, you always hope your work will touch people, but there is something extraordinary about hearing someone say a song helped them survive a difficult period in their life. I’ve received messages from people who said “Wo Fie” helped them through family rejection, isolation, depression and moments when they felt completely alone. For many LGBTQ+ Africans, simply being seen can be life-changing. We grow up hearing that we do not belong, that we should hide, or that our existence is somehow wrong. Knowing that “Wo Fie” has become a source of comfort and affirmation tells me the song is doing exactly what I hoped it would do: it is reminding people that they are not alone. I am also grateful that the song brought together queer people and allies. The support from Wanlov and Sister Deborah showed that allyship is powerful. It demonstrated that standing up for human dignity is not only the responsibility of LGBTQ+ people, but of everyone who believes in justice and compassion.

Ghana has seen intense struggles around LGBTQ+ rights in recent years. How has that affected you?

The climate has affected me profoundly, both personally and creatively. As Ghana’s first openly trans musician, I carry a visibility that comes with both opportunities and challenges. The increasing hostility around LGBTQ+ issues has not only affected how people perceive me, but also my ability to sustain my work as an artist. There have been collaborations that never materialised because people were afraid of being associated with me. Opportunities have disappeared once organisers or brands learned who I am and what I stand for. There are people who privately support me and enjoy my work but are unwilling to do so publicly because they fear backlash. That reality can be incredibly frustrating, because it means that sometimes the barriers I face have nothing to do with my talent, professionalism or the quality of my work.

Financially and professionally, it has made the journey much harder. Like many independent artists, I rely on collaborations, bookings, sponsorships and public support to sustain my career. When an entire political and social climate encourages people to distance themselves from you, it inevitably affects your ability to grow and thrive as an artist. Personally, it can be exhausting to constantly see your identity turned into a political debate. There are moments when it feels like people spend more time discussing my existence than engaging with my music and artistry.

At the same time, these experiences have shaped my creativity. They have made me more intentional about the stories I tell and the legacy I want to leave behind. My music has become a space where I can document our realities, celebrate our resilience and remind people that queer Africans deserve not only rights and protection, but also joy, love, success and the freedom to dream. So while this climate has created obstacles, it has also deepened my commitment to using art as a tool for visibility, truth and change.

How do you think music can help foster empathy?

For me, music becomes even more important in those moments because it can reach people in ways that politics and public debate often cannot. I always say music does not know gender, religion, race, nationality or political affiliation. It speaks to emotion, and emotion is something we all share as human beings. When conversations become hostile, people can lose sight of each other’s humanity and begin to see labels instead of people. But a song can remind us that behind every headline, debate or political argument are real human beings with real feelings, dreams, struggles and hopes.

As an artist, I’ve seen how music can bring together people who may disagree on many things. Someone might not engage with activism or human rights discussions, but they will listen to a song. Through music, they can connect with stories of love, heartbreak, resilience, joy and survival. That connection can open the door to empathy and understanding.

For LGBTQ+ people especially, music can also be a source of comfort. There have been times when songs made me feel less alone, and I’ve had people tell me my music has done the same for them. Knowing that a song can give someone hope, strength or simply make them feel seen is incredibly powerful. So in hostile times, I see music as a bridge. It brings people together, creates space for empathy and reminds us of our shared humanity. For me, it is both a refuge and a form of resistance.

The new anti-LGBTQ+ bill has raised concern in Ghana and beyond. What are your main concerns about what it could mean for queer Ghanaians?

My biggest concern is the fear this bill creates and the message it sends to LGBTQ+ people in Ghana. The danger goes beyond the legal aspects of the bill. Laws influence how people treat one another. When political leaders and public figures repeatedly portray LGBTQ+ people as a problem or a threat, it can encourage discrimination, harassment, violence and rejection within families and communities.

I am particularly worried about young queer people. Many are already trying to understand who they are in environments where they may not feel accepted or safe. When they hear messages that tell them they do not belong or that their existence is something to be feared, it can have a devastating impact on their mental health, confidence and sense of self-worth.

I am also concerned about how this climate affects everyday life. It can make people afraid to seek healthcare, access support services, express themselves or simply live openly and honestly. It pushes people further into isolation and fear.

Most importantly, I worry that we are losing sight of our shared humanity. LGBTQ+ people are not strangers; we are Ghanaians. We are artists, students, workers, parents, siblings, friends and neighbours. We contribute to our communities just like everyone else. My hope is that people look beyond politics and remember these conversations affect real human beings whose only wish is to live with dignity, safety and equal opportunity.

What’s keeping you going in the fight for LGBTQ+ rights in Ghana and across Africa?

What gives me hope is people. I see young Africans questioning harmful narratives and choosing compassion over fear. I see parents learning to accept their children. I see activists, artists, lawyers, journalists, faith leaders and allies continuing to stand up for human dignity despite immense pressure.

I also see queer Africans refusing to disappear. For generations, people have tried to tell us that we do not belong here, yet we are still here. We are creating art, building families, leading movements, supporting one another and contributing to our communities.

Change rarely happens overnight. History shows us that progress is often slow, difficult and sometimes painful, but it also shows that people who fight for justice can transform societies. My hope comes from knowing that every conversation, every act of courage, every song and every person who chooses love over hatred moves us closer to a future where LGBTQ+ Africans can live openly, safely and proudly. And I believe that the future is possible, not because it is guaranteed, but because so many people are working every day to make it real.

Support Angel Maxine by contributing to her GoFundMe here.

How Rigo Kamp Got To ‘KAMP STEREO’

Posted on by Boluwatife Adeyemi

Rigo Kamp is a consummate live performer. Long before the rising singer put out his official debut single, he had been cutting his teeth in the Lagos underground live music circuit, acquainting himself to a sizable audience that bought into his soulful artistry and magnetic stage presence. This solid foundation positioned him as a formidable new voice in the scene, where his reputation as an engaging entertainer preceded his digital discography.

In December of 2023, he made his debut on the NATIVELAND stage, giving a good account of himself with a couple of covers and most notably a rendition of the then unreleased “Summer,” his debut single that formally introduced him as a star in the making. About three months later, he turned heads again at the inaugural edition of uNder LIVE, a showcase dedicated to spotlighting acts who are pushing the envelope of their craft and are on the cusp of a breakthrough. 

 

The journey through these different stages and intimate venues across the city served as a training ground that allowed him to refine his vocal prowess and develop a unique connection with listeners before his official debut release “Summer/Morning Sun,” finally arrived in October 2024. 

Unsurprisingly, both singles lend themselves to a live-instrumentation-heavy interpretation, which has become a hallmark of his artistic identity. “Summer” was immediately supported with an official performance video, a crisp and neatly directed visual that brought the song to life and also showcased Rigo in his element, a mic in hand serenading whoever cares to listen. 

Additional live renditions of both “Summer” and “Morning Sun,” delivered at venues like the Vinyl Factory in London and Waf Skate Park for Spotify’s Skate Noise event, further solidified his reputation as a unique artist with an unwavering dedication to live performances. By April 2025, he unveiled his self-titled debut project, a compelling body of work that included the previously released “Summer” and “Morning Sun” alongside fresh tracks like the vibrant, Juju-influenced opener “Marathon,” “Miss You,” and “Move On.”

 

Shortly after the project’s release, he curated his first headline performance at Amah Studios, where he transported his audience to his eclectic and colourful world, once again showcasing he’s just as captivating live as he is in his studio recordings.

Now, over a year after his first headline show, the singer is back with KAMP STEREO, a live music residency that’s set to begin on June 6, and expected to run till the end of the year. In a recent Instagram post announcing the residency, the singer revealed that he’d been “locked away for the first half of this year working on bringing this idea to life,” emphasizing his commitment to evolving the live music experience.

KAMP STEREO began with ‘Breathe,’ the first act of the six-month-long residency that will be held at 16/16 in Victoria Island. “Come down if you want to hear new music, presented in a way you’ve never seen it before,” he adds in his announcement, inviting his audience to witness the next chapter of his artistry in an intimate setting designed to showcase his growth, soulful sound and magnetic stage presence.

Emo Grae’s ‘Grae’s Anatomy’  Is A Mosaic Of Varying Emotions 

Posted on by Michelle Ejiro

Emo Grae has released his first full-length project, ‘Grae’s Anatomy,’  a 7-track EP that marks the beginning  of a new chapter in the singer’s six-year-old career that sprouted in 2020 following his release of “Selense” and a record deal with Marlian Music that has now ended, nudging him to independently reinvent himself. 

Since inception, one of his distinctive qualities has been his ability to brilliantly mirror his emotions through his sound and he does it again on ‘Grae’s Anatomy,’ laying bare his vulnerable state of mind.

 

The EP opens with “Youth,” a deeply introspective record centred on youthful exuberance and the lifelong aftermath of certain decisions. Songs like “Fool for You,” “Combine” and the BhadBoi OML-assisted “Gravity” embody  his unfettered lover boy side, a part of him he’s always explored throughout this career. 

Before the arrival of this EP, Grae had slowly introduced the era by reconnecting with old friends. Towards the tail end of 2025, he  rekindled his chemistry with Bnxn on “Your Type,” to build on their previous joint effort on “0903,” a hit song central to Emo Grae’s story.  This year he tapped Zinoleesky, his  former label mate for a guest verse on “LOL.” 

Emo Grae is attune with his emotions throughout the 17 minutes runtime of ‘Grae’s Anatomy.’ He offers an immersive perspective into the matters plaguing his mind and he does it honestly, without restraint, inviting listeners to experience his evolution and rediscovery to self. 

Listen to ‘Grae’s Anatomy‘ here. 

Interview: Pheelz Welcomes You To ‘A Rii Set’ 

Posted on by The Native

Even when he was contributing to the ascension of YBNl as one of Nigeria’s most renowned record label, Pheelz was operating beyond his core duties as a record producer, often offering songwriting direction and conceptual direction for some of the records that helped shape the de rigeur YBNL sound. On his own, Pheelz has become one of Afropop’s most well-regarded acts since the success of 2022’s “Finesse” with BNXN. His latest project, ‘A Rii Set,’ hinges on a full integration of his disparate influences, merging the flamboyant showmanship of Pheelz with the technical proficiency of Rii the super-producer. 

“I feel like I’ve gone through a defining moment in my life and I feel like the music interprets that as well,” Pheelz said in an interview with Apple Music’s Africa Now Radio. In some respects, ‘A Rii Set’ sounds like a reckoning with self that has been a while in the making. From the self-affirmation of “I’M OK” to the propulsive jamming of “DIRTY DIANA RHYTHM” and the nostalgia-inducing “GONGO ASO,” Pheelz treats the music as an outlet for self-expression. “I feel like ‘A Rii Set’ is a direct representation of my internal emotions,” he admits. 

This interview has been edited for clarity. 

How are you feeling about the new release?

It feels good, no pun intended. It feels really, really good. I’m grateful. I feel like I’ve gone through a defining moment in my life and I feel like the music interprets that as well. I’m grateful to God, grateful to the fans for sticking with me, grateful to the media, grateful to Apple for always showing support and love. I don’t take anything lightly or for granted.

You started in the choir in your church?

That was honestly my first introduction to music. I was a five-year-old kid and I just stumbled into the church, the adult church actually, during the moments where worship was going on and I saw in real time how music can control emotions and elevate people out of their worries and anxiety and fear. So, I saw that in real time and that was what got me attracted to music because I’m like, I want to be able to do this. I want the skill to be able to do this because I like how this makes me feel. From a very young age, I understood the power that music has to raise vibrations and the importance of that in human life. It’s okay to sing about fancy cars and girls and all that but sometimes we need to understand the spiritual power that is music and how frequency and sound literally raises vibrations and how vibrations create reality and how it’s important to use that workflow as an artist to touch people’s lives.

What’s your relationship with your father?

To be honest, my father didn’t believe it at first and I love him. He didn’t believe it at first because my father is a preacher. When a pastor’s kid says he wants to do music, especially secular music, it’s frowned upon. He told me he had a vision because he has a gift for dreaming and seeing visions. [In the] vision that there were angels surrounding me and the angels came to him, and they’re like, you have to let this kid go because we got this kid, we’ll protect him. This is his mission, this is his path. Let it be.

How did you meet Olamide?

Around that time, Olamide had a friend called Maye Hunta that happened to be an artist. Maye Hunta had a song back then called “Ekaette” that was big in Africa. So, Maye Hunta would come to my dad for counseling as a preacher, just for advice and like mentorship. At that time, I had already been tinkering around with my brother’s computer on FruityLoops. So, I had already made beats and songs and written songs for church and church programs. I had all that burnt onto a CD.  When Maye Hunta came for one of his counseling sessions with my dad, I blocked him on his way out and I was like, “Yo, big bro, I’m a producer and I also sing on the side as well, do you want to listen to some of the stuff I got?” He was like,”Yeah.” I gave him the CD and I forgot about it. Fast forward a couple months down the line, he had played it for ID Cabasa and ID Cabasa was looking for an intern at the time. So, ID Cabasa asked if I could be an intern. After fighting with my dad over and over and then the angels literally intervening,  my dad let me go for the internship. It was in that internship I met Olamide. Olamide and I became friends and brothers and we’ve been working since that time. 

How did “I’M OK” with Tiwa Savage come about?

It’s my mantra that I’m sharing with the world because that’s what I tell myself anytime I go through crazy stuff and I believe in the power of the tongue and the power of positive affirmations. I strongly believe that if you say something over and over, it affects your feelings and that creates your reality of being okay. So, “I’M OK” is showing the world what works for me and hoping it works for them as well because if you put positive affirmation onto the frequency that is music, it becomes really powerful. That was my idea behind just repeating I’m okay, I’m alright over and over so people can do that as well and feel okay. The song literally raises your vibration if you listen to it.

What was the inspiration for the production on “DIRTY DIANA RHYTHM?”

I feel like ‘A Rii Set’ is a direct representation of my internal emotions. Dirty Diana is my guitar. It’s a musical instrument that I play. I call her Dirty Diana. “DIRTY DIANA RHYTHM” is just her just being herself. We make love, that’s what we do, Dirty Diana and I. We invite our fans to listen while we make love but Dirty Diana is my guitar. I perform with Dirty Diana, I make music with Dirty Diana. There’s a song called “Jamming” that dropped last year that has the phrase “Dirty Diana, bami ba won soro” and I play Dirty Diana and that one has been going crazy on TikTok for like months. So, Dirty Diana is my musical instrument, she’s my baby and another way I express myself through.

What was the intent behind the live performance elements of the EP?

There are really no music videos, it’s all live performances. It’s all live because I really want to invite my fans and whoever wants to listen into that world of actual true live performance art. I feel like that is missing, especially in the Afrobeats space. I feel like we need a lot more of that.

How did you make “Ride or Die” with Ami Faku?

That’s my friend. I respect Ami Faku so much, I’ve respected Ami Faku for so long. Working with her on this project means the world to me, she’s amazing and she brought so much light to that song. I’m so grateful for “Ride or Die.” man. I feel like it will be one of the fans’ special. I feel like there’s a very quiet power that Ami has in her voice, like she doesn’t stress when she sings, but in that meekness, there’s strong power. That’s what I’ve always felt from all her songs that I’ve listened to. When I was making “Ride or Die,” I was like, “Yeah, this would go crazy if Ami Faku gets on it,” because I could hear her on the song. She’s such an amazing vocalist and artist and even more amazing in person. Shout out to Ami Faku, man. My love and light to her wherever she is. She’s incredible. She blessed me with the record.

What did working with so many artists teach you?

It taught me that I’m amazing, plain and simple; that I am incredible at what I do, that God has blessed me with incredible and impeccable talent. The world deserves to hear me and I deserve to be heard by the world and I will be heard by the world. It just taught me that music is my calling and it’s what I do best. Yes, there’s the business side of things, but it has also taught me the spiritual side of music. I feel like as artists, we really forget the responsibility we have as musicians to make music. It is really a gift and even more than a gift, it is an anointing. I sound like my dad now, but I can’t help it. When we make it in the music industry, we forget the spirituality that music is. We are making something out of thin air, literally. It is not a product. It is not like an iPhone where you  put chips together. You’re literally tapping from the divine source of creativity. We cannot forget that. Yes, we can make money with it; sell and buy and create an industry from it, but at the root of it, I believe we should not forget that this is a spiritual activity. I feel like life is reminding me about that every day the more I work with these big names. It reminds me every time that yes, this is a spiritual activity.

Rigo Kamp is launching a live music residency in Lagos this weekend

Posted on by Michelle Ejiro

Native Records singer, Rigo Kamp, is constantly seeking new adventures that uniquely set him apart from the pack. His zest for exploration and reinvention is the catalyst for his next quest: a six-month-long live music residency poised to earmark a new era in his career. Since his eponymous debut project in 2025, he has established himself as one of the leading voices operating in West Africa’s freewheeling Alte scene. This acclaim stems from his ingenious approach to songwriting, delivery, performance and his overall artistic impression. 

 

Moving beyond that era, Rigo Kamp has dedicated the past months in 2026 neck-deep in the studio, working on new music and refining his art. KAMP STEREO is his offering as a confluence of his authenticity and experimental approach to his work. For him, it is a way to expand the scope of African music and showcase the slew of talented artists emerging from Lagos. “It will usher in a fresh perspective to music from this side of the world,” he says. “Something fresh is happening in Lagos, you don’t just know it yet. Generational artists are emerging!”

KAMP STEREO will begin on June 6, 2026, at 16/16 Victoria Island, with “Breathe” setting the stage for what’s to come over the next six months.  Rigo describes the song as a multilayered record aimed to immerse listeners in the present and dispel their worries.  Speaking on the collective vision for the residency,  Kamp says it isn’t just about the music but the unforgettable emotions he plans to evoke in the audience, “I want it to be an experience. A soulful, tasteful, edgy, and memorable one, filled with passion and raw energy.” 

Mr P Is Candid About Attraction’s Hold On “I Can’t Look Away”

Posted on by The Native

The history of Afropop is replete with songs about beauty as well as songs about the kind of beauty that completely disrupts your focus. On his latest single, “I Can’t Look Away,” Nigerian music icon Mr. P captures that exact feeling with effortless charm, infectious melodies, and a groove designed for movement. 

Built on pulsating Afropop rhythms and playful lyricism, “I Can’t Look Away” is a celebration of irresistible attraction. It tells the story of a woman whose presence commands attention wherever she goes, so captivating that looking away becomes almost impossible. From the first verse to the final chorus, Mr. P leans into admiration, desire, and the exhilarating confusion that comes with being completely captivated by someone.  

 

The record arrives as another reminder of Mr. P’s enduring ability to create music that connects instantly with audiences. With its catchy refrain, dance-ready production, and relatable theme, “I Can’t Look Away” combines the simplicity of a classic love anthem with the vibrant energy of contemporary African Pop music.  

Long regarded as one of Africa’s most celebrated entertainers, Mr P is renowned for his contributions to the global rise of Afropop. Rising to prominence as one half of the iconic duo P-Square, he helped shape an era of Afropop, delivering numerous chart-topping records, sold-out tours, and unforgettable performances that established the group as one of the continent’s most successful musical exports. 

His acclaimed  solo debut album, The Prodigal, showcased his versatility and featured collaborations with some of Africa’s biggest stars, including. With the release of “I Can’t Look Away,” he’s gearing up for his solo sophomore album. 

Listen to  “I Can’t Look Away” here.  

SEUN KUTI & EGYPT 80 UNITE WITH TOM MORELLO  FOR CRITIQUE OF SYSTEMIC OPPRESSION ON “NA DEM”

Posted on by The Native

Afrobeat star, Seun Kuti, and his Egypt 80 band have released their new single “Na Dem,” featuring Rock & Roll and Metal Hall of Fame Inductee Tom Morello. Originally a freestyle made during a Coachella set, clips shared of the performances went viral, becoming one of the most talked-about moments in Seun Kuti’s live set. This official release reimagines the track with a full studio arrangement and the unmistakable guitar work of Morello.

 

“Na Dem” is an uncompromising critique of those who profit from poverty and systemic inequality. Without softening its message, the record confronts politicians’ corruption, abuse of power, and the machinery that fuels oppression. “I strongly wanted to collaborate with Tom Morello because he represents the ultimate expression of protest music,” Seun Kuti says. “Beyond any musical genre, we need artists like him. Just as my father did in the past and I do now, we need to convey messages that make listeners reflect.”

The single pulls together a league of extraordinary talent and was recorded at the prestigious Metropolis Studios, with production from Femi Koleoso of Ezra Collective, mixing by Riley MacIntyre and mastering by Stuart Hawkes. Seun Kuti & Egypt 80 are currently on a world tour that began on 7 May 2026 in Barcelona. The band is travelling through the Philippines, Australia, and New Zealand. Two landmark shows are scheduled in the US this Autumn. ‘My Life in Movement’ on 9 October 2026, at The Regent Theatre in Los Angeles, and 14 October 2026, at Webster Hall in New York.

Listen to “Na Dem” here. 

Magicsticks Is Still Reimagining Afropop 

Posted on by Michelle Ejiro

For Magicsticks, music was preordained and an inevitable part of his destiny, “All my life, I’ve never really been interested in anything else,” he warmly says over a Zoom call on a sunny Wednesday in May, his voice tinged with nostalgia as he reflects on his journey. “I was born into a musical home. My dad is an instrumentalist who plays guitar, bass, and piano, and he’s also a DJ. So everything came from him.” 

His initial interest was further piqued by Alakuko’s vibrance. A suburb of Agbado in Lagos, Alakuko’s intersection with neighbouring city, Abeokuta, forms a huge part of his story. However, his experience with the latter still carries harrowing trauma that is difficult to express verbally. “I moved to Ogun State at some point and then to Abeokuta, where I worked at a block factory,” he reveals, his voice drooping. “It’s a very long story and there are sad parts I don’t want to delve into too deeply.” 

Rather than wallow in the hurt, Magicsticks revels in the beautiful beginnings of the area that trained  his heart and ears  to appreciate the atmospheric warmth that music provides. “I grew up in a community where music was everywhere in the streets, in people’s homes,” he recounts. “You’d walk two houses and find a cassette seller or music distributor.” These primary experiences became tiny seeds planted in him and have been germinating for a decade and a half, fueling an incessant desire to be exceptional. In 2011, he embraced the challenges of growth, took a bet on himself and started his music production journey with the resources available to him. 

 

Since recording studios weren’t popular at the time, he utilised home theatre speakers, church microphones, his laptop and a soundcard to produce his first set of beats. When he gained admission to study Computer Science at Lagos State Polytechnic, he connected with like-minded individuals, including Mystro and his revered role model, Jay Pizzle, who gifted him his first studio equipment that set a professional baseline for his career. 

However, Magicsticks’ rise to stardom wasn’t instant. He had been creating for 10 years before his fruitful relationship with one of Afropop’s greatest hitmakers, Asake saw him solo-produce his acclaimed debut album ‘Mr Money With the Vibe.’  Now a successful cultural figure, Magicsticks spends his days as a studio rat, free of the pressure to prove himself, thanks to a hit-studded catalogue that has made him a role model for burgeoning producers. Despite his success, he’s still actively resisting the urge to take his foot off the gas. “It’s either I make it or I die trying,” he admits. “There’s no in-between for me.”

 

This interview has been edited for clarity.

Looking back at your origins and childhood, what forged you into the person you are today?

The impact of my dad. He’s a music person, an instrumentalist who plays guitar, bass, and piano, and he’s also a DJ. I was born into a musical home, so everything came from him. My mom is a fashion designer and doesn’t know much about music, so all my musical influence came from my dad.

Were you certain from a young age that you wanted to pursue music?

All my life. I’ve never really been interested in anything else. Growing up, I wanted to be a DJ, but I felt like that wasn’t enough. I wanted to understand how music is created and the whole production process, so I decided to go into production.

What were some of your earliest influences in music and production?

My environment played a huge role. I grew up in a community where music was everywhere, in the streets, in people’s homes. You’d walk two houses and find a cassette seller or music distributor. I grew up listening to all types of music: Juju, Fuji, Apala and later producers like Kanye West. I also listened to Nigerian producers like Sarz, Jay Pizzle, and Mystro. These were all major influences.

When did you start music production professionally?

 I started production professionally around 2010 or 2011.

Did you have your own studio back then?

No, there was no studio. It was just me, my laptop, my sound card, and home theatre speakers. I remember using some home theatres like that before I got my first studio speakers from Jay Pizzle. He was the first person who gave me studio equipment. I was using church microphones instead of proper condenser microphones. Very basic equipment, but the recordings came out pretty decent for that time.

Now that you’re a professional producer, what skills do you think are essential to the job?

Hard skills include production knowledge, piano skills, the ability to produce music itself, mixing, sometimes writing, and mastering. For soft skills, it’s about understanding the artist, their personality and how to interpret the relationship between us. Different artists have different ways that work for them. Some don’t enjoy people being around. Most of the time, they don’t have to say it; you can tell from their aura and facial expressions. 

You mentioned songwriting. Are you a songwriter as well?

I do a little bit of songwriting. I have written actual songs, but I won’t be giving titles for now. I think when my personal projects come out, people will get to hear  more of that aspect of me. I believe all producers basically write melodies. Even if they don’t come up with lyrics, they can create melodies.

  

What’s the role of Nigerian producers in reshaping the global perspective of Afrobeats and African music?

Producers are the bridge between the artist and the listener. We’re like instrumentalists on a live stage. The artist could sing acapella and the audience would still get it, but it doesn’t come in full. When you have your guitarist and everything there, the audience understands you better. We’re the bridge. We play an important role that people are now beginning to see more clearly. There’s no artist without a producer. The artist vocalises, but the emotion and feeling that people derive from the music, that’s what the producer offers.

You’ve fostered an amazing artist-producer synergy with Asake. How did your relationship start and how have you maintained it?

I met Asake back in 2019 through a friend called Sydney Talker. We’ve been working ever since. Knowing somebody and being able to manage the relationship works because this man is down to earth, he’s not somebody who will stress you in your field. He lets you do what you need to do, and at the same time, I understand where to let him come in with his creativity. That balance has been very helpful to the relationship and creativity. It has kept us going at a very good speed.

Let’s talk about genres. Nigerian Pop has borrowed from several genres in recent years. How do you bridge African influences and other genres in a way that appeals to the Nigerian sonic palette?

Being a musician, you’re like a preacher. You’re not preaching just to Nigerians, you’re preaching to the world. We adapt by wanting to communicate our music to different people and different aspects of the world. To do that musically as a producer, I infuse different sounds without losing my own self, which is Afrobeats.

What’s the core signature that defines Afrobeats as a producer?

I may miss it sometimes because I don’t always bring all the instruments in production. But most of the time I really enjoy my saxophones. If I don’t do that, I use violins, but violin isn’t really an Afrobeat instrument. It’s not about the instruments themselves, but about the progression of the instruments. How the instrument is being played determines whether what you’re playing is Afrobeats or not. I can use a sax to play a melody and it sounds Afrobeat. I can play something else with it and it sounds different.

Which genres are you most excited about right now?

Because of my personal projects coming up, I’m doing a lot of AfroHouse and AfroTech experiments at the moment. I’m not saying that will necessarily be the next thing people will be listening to, but these are things I’m experimenting with.

What’s your take on the burgeoning EDM and rave scenes?

Every genre has a role to play. There’s a moment when you want to be at a rave, and the next moment you may want to be at a local bar. All these genres have major roles to play. I don’t have a specific take, but I really like what Group Therapy is doing with the rave [culture].

You mentioned having personal projects coming. What’s this about?

It’s a producer-led DJ album. It’s a project where the artists express themselves and I express myself as well. It’s a kind of project where the artist doesn’t do too much and I don’t do too much either, but it’s still appealing to the audience. There’s going to be a lot of body movement, people are going to be moving their bodies a lot. With the way the country is now, this music is to put people in their good pockets.

As someone shaping the future of sound, what do you think music production in Nigeria will look like a few years from now?

Music production will still be music production. The sounds might keep changing as producers try to find new sounds and experiment, but it’s still going to be a couple of guys working their ass off trying to bring out the best in production. I’m not sure yet, but I hope it’s in its best form. If you asked me this question ten years ago, I wouldn’t have known either. But there will always be guys trying to keep it going, and hopefully we’re still here doing the job.

Tell me about your producer tag. How did you coin it?

A friend of mine made the tag for me. I was using a different one at first, a very local one. It was like “Magic lo se beat” back then. I was in school at Lagos State Polytechnic, studying Computer Science. At some point, I just knew that the dream I wanted was international, and I needed to come up with something way better and nicer. So I trashed that and opted for “Tune in to the King of Sounds and Blues” because I realised that these melodies are not ordinary, they are ordained by God Almighty.

What advice would you give to upcoming producers?

I’d tell them to double the pace at which they’re working. If they’re at 50%, they should make it 100% and keep it original. You don’t necessarily have to do what everybody is doing just because that’s what people are listening to. If I had been leaning into what people were listening to, I may not have found my own sound. There’s a personality within you that wants to be expressed. Don’t deny that. Execute it every time it comes to mind.

What personal philosophy have you based your life on?

God is the greatest. People close to me really know that I post this on my WhatsApp story everyday. It’s not just to post, but to let them know that he is indeed the greatest.  I don’t want to talk much but I’m going to touch on it a little bit.  I’ve worked in a block factory. I’ve done different stuff before this. God can make everything align. I believe in the talent God gave me, and I have one other belief: it is a must that I make it in life. It’s either I make it or I die trying. There’s no in-between for me.

Dave Is Bringing His ‘The Boy Who Played the Harp’ Tour To Nigeria

Posted on by Michelle Ejiro

British-Nigerian rapper and songwriter Dave is ready to make history as he prepares to headline his first-ever show in Nigeria. This development follows the worldwide tour of his acclaimed third studio album, ‘The Boy Who Played the Harp’, and a decision to bring the experience to his country of heritage. 

 

Running for two days on the 16th and 17th of October, the event will be held at Wole Soyinka Centre for Culture and Creative Arts, a historic symbol of Nigeria’s artistic heritage and an important marker of the city’s evolving live entertainment scene.

For Dave, the performances signify a deeper cultural significance for the artist who has built his career for over a decade in the diaspora while still finding ways to connect with his roots. He already has major collaborations with a couple of artists including Tems, Burna Boy, and BOJ. His interest in staging a headline show back in Nigeria draws him closer to home and his Nigerian fan base.

uNder: Best New Artists (May, 2026)

Posted on by The Native

Music is officially back, even if the underground never went to sleep. Since the beginning of the year, we’ve been treated to several standout moments and performances by acts still figuring out their path as creators and voices of their generation. As always, the underground is where the most cogent experimentation and hybridising is being done. It’s why we started this column years ago: we want to always be at the centre of what makes culture pop, and it’s a goal we’ve managed for a while yet and intend to keep doing. 

May 2026 has not been an exception in terms of the depth and breadth of talent that we’re aiming to spotlight. Almost Joey is taking a calculated approach to music-making that’s steadily building an interesting catalogue while Liberian singer, Danté,  is delicately blending Hip-Hop with R&B grooves. Equally resonant, Nigerian songbird, Sewa, putting her unique imprint on Soul and Jazz as is Ghanaian-Norwegian star, Akuvi. Together, this pool of stars reminds us of why we keep pressing play on records: we want to be elevated and seen, and, in some inexplicable way, these acts want the same for us. Read on and find out why you should be paying attention to them. 

Almost Joey

For Fans of:  Crayon, Johnny Drille, and Tekno. 

Almost Joey is just at the start of his career but he already knows where he’s headed, deliberately building out a catalogue that might be byte-sized at the moment but packs a punch while introducing listeners to the essence of his eclectic take on Afropop. Born and raised in Lagos, Almost Joey’s interest in music was spurred by a love for Hip-Hop that evolved as he grew older and encountered the work of Guyanese-American singer and songwriter, SAINt JHN. After a series of covers on social media, he released his debut single, “If I Dey Lie (Carry Me),” in June 2023 to frenzied reaction digitally. 

Over a year later, he returned with a new version of “If I Dey Lie (Carry Me)” carrying a verse from Crayon that deftly  merged their colourful approach to songwriting and further stamped Joey as a talent to watch out for. Sticking to the drip-feeding approach that he has used since the beginning of his career, he released just one song in 2025, dropping the maximal Afropop banger, “Your Waist,” in January 2025. As always, he was pledging his loyalty to a love interest and assuring her of his dedication. His cherry to songwriting also bears shades of Tekno at his most evocative. Returning in April 2026, Almost Joey released “My Baby (Obimo),” another heart-tugger that bears all the hallmarks of his emotive songwriting style without sacrificing the verve that makes him a dynamic listen. Since its release, “My Baby (Obimo)” has received a DJ Kraizee remix that adds House elements to the song, further expanding its reach and Almost Joey’s profile.  – W.O.

 

Danté

For fans of: Tay Iwar, Lucky Daye & Odeal

If you’re unfamiliar with Danté’s music, perhaps the best place to start is “Big Sp7nder,” a highlight from his debut project ‘Paradiso.’  The song’s recently released music video, which looks like something straight out of the MTV era, offers a vivid glimpse into the model-turned-singer’s defined style, which blends nostalgic aesthetic choices with a serene sonic edge. It’s the kind of lush R&B music you would want to put on when you are cruising through the city at night or with a glass of champagne or prosecco in hand, feeling on top of the world.

It’s quite impressive how the singer, who hails from Liberia, has been able to cultivate a distinct sound with only a few credits to his name. Before the release of his official debut single, “Ricki Lake,” from earlier in the year, he had only ever been officially featured on one song: “DOING TOO MUCH,” a lustrous cut from Brooklyn-based singer and producer DEY G’S 2025 tape ‘SUM SAWNGZ.’ He delivered an impressive showing on the noughties R&B and Hip-Hop inspired cut, and it’s that same nostalgic flair that he brings to his own music. 

The singer first announced his debut project earlier in February, and it was accompanied by two singles, “Ricki Lake” and “We Up,” both of which served as a clear indication of what direction his music would take. The full project arrived a few weeks later, and thanks to the guidance from Odunsi The Engine, who served as an executive producer for ‘Paradiso,’ Danté was able to successfully channel his nostalgic R&B and Hip-Hop influences into a project that feels both fresh and timeless. 

Following the release of ‘Paradiso,’ Danté has promised new music, looking to build on an impressive debut showing that has already garnered attention within the alternative music scene. By expanding his creative reach and continuing to lean into his unique West African heritage while maintaining global appeal, he aims to further solidify his position as a rising force in the industry. – B.A.

 

Akuvi

For Fans of:  Tems, Shekhinah, and Mellissa.

Akuvi Kumoji does not conform to liminal ideas or expectations of her music. The singer blurs genre boundaries with a  koan-like introspection that signals to a lifetime’s worth of earned experiences. Boasting Ghanaian and Norwegian heritage,  the singer’s introduction to music courtesy of her father, but Akuvi didn’t feel the conviction to take her music seriously until she recorded “OBLIGATIONS,” while living in South Africa in 2019. Since then, the singer has been as prolific as she has been experimental, fusing Soul, Pop, and Alternative Folk into her distinct interpretation of Afropop that has seen her plant her foot firmly in Ghana and Norway. 

Following the release of “OBLIGATIONS” in 2029, she released an eight-song tape titled ‘Unfinished Business’ that saw her explore her Soul leanings on tracks like “Free Me from Me” which had an Afrobeats version tacked on to the tape as well as other songs like “Everybody Else” and “Obligations.” Moving on from ‘Unfinished Business,’ Akuvi released singles like “Confusion,” “In My Feelings,” and “Triumph” documenting her process in real time as she fine-tuned her sound and stripped the elements that didn’t quite serve her. A glimpse of that refined sound was on display when she put out “The Other Side” in November 2023 as the lodestar for an EP to be titled ‘Sorry I’m Late.’

Arriving in January 2024,  ‘Sorry I’m Late’ saw Akuvi lean definitively into Afropop, meshing the rhythmicity of highlife with the bounce of Amapiano while dissecting faith, belief, and her ambition. Tracks like “Dem Never Gonna Know” and “Agoo” displayed an intuitive comfort with Afropop that has only deepened since that time. 2025 was another year for soul-searching for the singer who released Soul-inflected tracks like “Lover/Fighter,” “Let Me Know,” and “Lock Down.” The release of the Stonebwoy collab, “Dream Big,” in January 2026 hinted at a shift towards Afropop that was confirmed by the release of her cathartic project, ‘Afrobeats For Emotional Gangsters.’  Across the seven songs, Akuvi runs her innate feelings on being lovelorn and hurt through an Afropop framework that’s reflected on highlights like “Let Me Know” and “No Words.” Seven years into a career that has seen her continue to blur the lines between genres, Akuvi is in her elements as she works to expand the textural range of Afropop with Soul-influenced dispatches.  – W.O.

 

Sewa

For fans of: Sade Adu, Asa, and Teledalase. 

There is something about the way grief imprints itself unto a person’s core so much that it can redirect the course of their life. After spending her formative years in Nigeria being indifferent about music, a ghastly accident in 20216 that claimed her father’s life and nearly took hers nudged Sewa to seek healing in music, leading her to explore her pre-existing fascination with the guitar. 

The process of playing the instrument ignited a profound connection to music until it outgrew being a hobby and became a necessary part of her life. That passion became the foundation of a career she started developing in 2019 when she released “Wahala” with the brother duo, The Cavemen., for a soulful Highlife jam. The following year, “Faraway” arrived as another step in carving out the distinctive Afrosoul sound that now defines her blossoming career. 

After migrating to Toronto in 2021 to study audio engineering at Seneca college, she started finding practical ways to develop her sound in the middle of a largely Hip-Hop-dominated scene. During her first concert, she realized that her audience regardless of race, loved her infusion of Yoruba with Jazz and Soul. Sewa is often complimented for embodying a similar aura to the iconic Asa and in February 2025,  she opened Asa’s Toronto concert, affirming a career she had been diligently building.

In October 2025, she cemented her acclaim with her debut album, ‘Detox,’ a 13-track soothing mashup of all her influences including Soul, Jazz and Folk. Anchored by her unmistakable airy vocals, the album feels transcendental, as though moving between the physical and ethereal. The lead single and fan favourite, “Lagos Living,” is an ode to the chaotic romance tropes peculiar to the city and Sewa’s way of staying connected to its never-ending intrigue. Throughout her career, she has demonstrated a staggering level of excellence and, for all that it’s worth, she is on the cusp of a pivotal career breakthrough.  – M.E.

Celeste Ojatula’s Creative Evolution Continues On ‘Our Time in the Sun’

Posted on by Boluwatife Adeyemi

Celeste Ojatula has released a new project titled ‘Our Time in the Sun.’ The five-track EP is the singer and multi-instrumentalist’s sophomore project, coming off the back of ‘Alo,’ her debut project from 2024 and the subsequent live version, which came about four months later. This latest offering continues Ojatula’s exploration of diverse musical landscapes, showcasing her growth and range as an artist since her debut. 

The new EP’s lead single, “Traveler,” which features Anabel Rose, arrived in late 2025. EDM heavyweight Sons of Ubuntu released a dance remix of the soulful single earlier this year, giving it vibrant new energy and expanding its reach into the electronic music space. The remix was followed by a new single, ‘This Side Of Love,’ a duet with frequent collaborator Dwin, The Stoic, and an announcement of the new EP. 

 

Across the EP’s five tracks of ‘Our Time in the Sun,‘ Ojatula blends intricate arrangements with evocative storytelling, further establishing herself as a unique voice within the contemporary alternative scene. Tracks like the folk-inspired opener “Oya Wa” and “New Memory” are instant standouts, highlighting her ability to transition between traditional instrumentation and more modern, dance-influenced rhythmic structures.

Having established a strong foundation with ‘Alo,’ ‘Our Time in the Sun’  represents a focused continuation of her creative journey, arriving just months after her well-received live recordings. She’s set to take the stage at the upcoming SXSW festival in London in a few days, and she’s likely to perform some of these new songs, giving them their first major live outing. 

Listen to ‘Our Time in the Sun’ here.

WAVE$TAR Keeps Up His Designer References Streak With RICK OWENS & GIVENCHY’

Posted on by Boluwatife Adeyemi

WAVE$TAR is back with a new two-pack single titled ‘RICK OWENS & GIVENCHY.’  The rising rapper has been on a commendable streak since his standout performance on “Escaladizzy,” one of 2025’s biggest singles. He’s followed up that breakthrough moment with a string of thematic two-pack singles that are titled after different luxury designer brands.

After kicking off his year with an appearance on “ar1gato 2 you,” the opening track from ARTSALGHUL’s latest project ‘2 l1t,’ he released his first batch of singles for the year titled ‘GUCCI & LV.’ The two singles were preceded by “PRADA BBY,” one of his late 2025 releases that set the ball rolling for this new arc of his career.

On his latest double drop, ‘RICK OWENS & GIVENCHY,’ he christens himself ‘minister of swag affairs,’ continuing these thematic drops that blend high-fashion aesthetics with his melodic raps. He reunites with trusted producers TaykO and OYB, building on the chemistry that made earlier releases like “TRAP,” “PRADA BBY,” and “CLOUD 9 (GUCCI BBY)” work. 

Even though there hasn’t been an official announcement for a body of work, there’s every reason to believe one is on the horizon. The young rapper first made a name for himself in the underground scene with his impressive ‘STARLIFE’ mixtape, and with this succession of recent singles, he appears to be building the foundation for another body of work that’ll solidify his position as one of the most exciting new rappers on the scene. 

Listen to ‘RICK OWENS & GIVENCHY’ here.  

Interview: Qing Madi Is Wearing Her Heart On Her Sleeves

Posted on by The Native

When she broke through with her BNXN-featuring single, “Ole,” in 2023, Qing Madi announced herself as next in line to the throne of silky-toned vocalists who blurred the line between Afropop and R&B. Since then, the Benin-born singer has released her debut album, accrued millions of streams, and established herself at the highest level of African music. 

Her latest project, ‘Barely Legal,’ finds her at a very important moment in her career. Barely 20, she’s at the head of an anthemic tape that celebrates distinct eras of Afropop with some of those era’s biggest stars in tow. Whether it’s Flavour and Tiwa Savage on “Lady” or BNXN and Victony on”Come Slide,” Madi is engaging in conversations with different generations of stars without looking out of place. “It’s crazy because for me, I had this in my head first where it’s like, ‘Oh, these artists are going to eat on this record,’ she  says.”

This conversation has been edited for length and clarity.   

What’s the inspiration behind the title ‘Barely Legal’

For me, obviously, coming of age, I’m going to be 20 on July 1st, and I felt like this milestone of my life is very important because this is obviously the year that I turn an independent artist. This is also the year that I feel like I’ve been through the lowest of the lows in terms of, you know, court and a lot of issues. I’m just like, “Whoa, I am barely legal and I’ve seen so much [and] that’s insane.” So, for this project, it’s just my heart on my sleeve. I just felt like, you know what, I’m just going to put this as a documentation that even in years to come, I’ll come back and listen to ‘Barely Legal.’

What’s the symbolism of the artwork?

For the artwork, we were very particular. So the young lady who is obviously supposed to represent me, she was wearing a ballet costume, and I used to do ballet at her age. I think I started at her age and stopped when I was around 11 or 12. There was an innocence because I enjoyed ballet for the art itself.  So, it’s one part of my growth that I feel like it’s a milestone. I was like, “Oh, I think this was the happiest I’ve been, you know, till date.” I wanted to capture that particular moment in that child, you know, dressed up as me because she kind of looks like me. So, dressed up as me in the costume while I’m carrying her. I’m also faced towards the back because I want to make sure that this is a different version of me. This is a version of me that is singing in these songs that you’re hearing. So, it’s trying to capture both nostalgic moments together and it was just very intentional for my team and I to make sure that it was perfectly captured.

What was it like collaborating with Tiwa Savage and Flavour?

It’s an iconic record. I do think the last time I heard Tiwa Savage and Flavour on a record was like 10 years ago-ish. I don’t know if I’m being precise, I’m guestimating. They had this beautiful song, and I remember that I used to listen to it basically when I was in the village as well as in the city. I’m like, “Oh my God, this is so gorgeous. These are legends.” They fit the record so much because it’s such a culturally deep record that I’m like, “Oh my God, these two represent culture, they represent history because they’ve been in the game for a long time.” So I felt that as an opening track to this new era, that is such a great song.

How did “10 Over 10” come about?

This project was such a historically amazing moment to pull off because of “10 over 10.” In his verse, he quoted one of his old songs that was basically one of the biggest songs in Afrobeats. Having that nostalgia back is just like, “Oh my goodness, like this is all on my project.” I got the opportunity not just to be honored by these great artists, but to also have them vocally be needed for the records because I didn’t want the unnecessary, “Oh, just the big names.” I wanted it to also sonically make sense and they all fit so perfectly. He got to sing-sing because me and Wande are like AfroR&B artists and he’s one of my biggest inspirations as a Nigerian female. 

What was it like collaborating with BNXN and Victony?

BNXN is my brother. Whenever we come together to make a record, it’s definitely a hit. And this one is with another amazing artist, Victony, who I think is very alternative and definitely is the blend that was needed for the record to all come together. So, it was so hot to make the record and to see both of them record because I was in the studio for both their recording and just seeing how genius is created. It was just perfect.

How did you achieve so many collabs for this project?

It’s crazy because for me, I had this in my head first where it’s like, “Oh, these artists are going to eat on this record.” But then again, you must understand that they are  amazing international legends that not everybody can get on a record. So I’m thinking to myself, “What am I going to do? Like how do I get Tiwa, Flavour, Wande Coal, you know, the likes of Rotimi, Lojay, Ayra Starr, how do I get them on a record?” I’m just trying my best. I meet up with them and I’m like, “Oh, if they don’t sync with it, you know, then there’s nothing I can do.” But I hope that they do. So, I play songs for them. I use the little manipulation card, like, “Yo, I love you” type thing. Then, they’re like, “Ah,” you know, they love the record. They all sent in their verse so quickly. I was just like, “This is so meant to be.” It was effortless. It was as though I had a community and it was just like, “Wow, like I haven’t even been doing this for long enough to be able to have these amazing artists on this record.” It’s just like the music was bigger than me. So it was a thing of like, “Oh, we love the music,  we believe that we belong on this song” and that’s why we’re recording the verse. So, I think that’s why everyone was so on point because I could tell from the music that they fit and they could tell as well that they belong in it.

How did you make “Jowo?”

It’s a non-fighting record. Sometimes people always want to put their points out and make sure that they’re winning a case against someone else or their significant other. I feel like “Jowo” is the part where you get to in your life where you’re just like, “I just don’t want to be alone.” It’s one of those things where you both put your issues aside and you’re just like, “I don’t want to be alone.” It’s very vulnerable, it’s very real, and I think a lot of people have come to that point in their lives where they’re just like, “Yeah, I know this went wrong and that went wrong, but I just don’t want to be alone.” So I feel like “Jowo” is that part where you’re like, “I’m willing to fight for something that’s bigger than both of us.” 

Why did you end the album on “Adding Up?”

It’s such a great song. I definitely would never have thought of a better closing song because I feel like if you listen to “Adding Up,” you could also mistake it for the beginning. That is basically what I’m trying to represent, a new beginning. So, even the ending sounds like there’s something afterwards. I was just trying to be like, “Oh, ‘Lady’ is a fire intro, ‘Adding Up’ as an ending is so unexpected because you would expect a solemn record that’s just going to pull you in.” But “Adding Up” is like, oh, the ending is also fire. The ending is also an introduction. I was just trying to be a bit subliminal, you know, a little Kendrick Lamar in me. I had to bring in a little dancey-dance in it. It’s both vulnerable, you know, “Jowo” and “Adding Up.” That’s why they’re very close in arrangement because they’re almost telling the same story. I feel like “Jowo” is the part where you’re pleading and “Adding Up” is the part where maybe you get sick of it and you’re just like, I think I forgot who I was for a minute. Like even though I might be soft, but I’m not going to let you undermine me to the point where I also forget who I am. So I think that’s why the beat is the way it is and the message is the way that it is.

How are you enjoying your quiet victory against your ex-label?

I think the quiet victory was just being able to create music. Because I think that it’s been a struggle to create ever since I became independent and so much has been going on in my life  with the ex-label and the court cases and just being online and my fans expecting certain things from me. It felt very overwhelming as an independent artist because now I have to hold everything together with my team, my sister, of course. So, it’s a thing where I’m just like, “Oh my god, like what am I going to do in the studio?” So being able to record and tell my story and feel and just be honest and vulnerable on the microphone is definitely a silent win where I’m like, “Okay, I’m back.”

ILLYTHEHOST AND SODUH BEATS ARE GEARING UP FOR THEIR ALBUM, ‘GOOD RAPS OVER A CUP OF COFFEE’

Posted on by The Native

Illythehost and Soduh Beats have officially released “Ke Monate,” the first single from their forthcoming collaborative album, ‘Good Raps Over A Cup Of Coffee.’ Featuring one of the freshest voices in South African Hip-Hop in Tshego Santana, the MC delivers a standout performance that further cements his growing reputation in hip-hop circles.

More than just a single, the release feels like a statement with Tshego Santana gliding effortlessly over the twinkling instrumental, proving that he can adapt to any beat while still delivering sharp bars with confidence and presence. Built around soulful sampled vocals and classic hip-hop textures, the production gives the track a timeless feel and Tshego does more than enough justice on it.

 

After a week filled with snippets, teasers, and a carefully crafted rollout, the release of  “Ke Monate” proves that Illythehost and Soduh Beats are fully stepping into album mode. 

Released under Oriigins, the single also carries personal meaning for Illythehost.“I opted for Tshego Santana on this joint because I know his capability and what he can do, while also bringing new life into the music industry,” he said. “And to work with Oriigins, I’m actually paying homage to my Eswatini blood because my bloodline comes all the way from Swaziland, way before my grandmother and grandfather crossed the border to build a life in South Africa. That’s why I wanted an Eswatini team to be part of this project.”

With Good Raps Over A Cup Of Coffee expected to feature heavyweight names and exciting collaborations, this release sets the tone for what could become one of the most exciting hip-hop projects on the horizon.

Listen to  “Ke Monate” here.

‘Milly’ Is A Testament To Txmmyily’s Evolution 

Posted on by Boluwatife Adeyemi

Txmmyily has released a new project titled ‘Milly.’ The four-track EP is the young singer’s first body of work since 2023’s ‘Velvet,’ and, perhaps more interestingly, his first under a joint venture between the independent British music label Lizzy Records and Antagonists Music, which is also home to acts like Zaylevelten.

Before this new exciting arc of the upcoming singer’s career, he spent most of last year drip-feeding his fans SoundCloud exclusives and a string of sturdy singles that include the Mavo-assisted “Body Work,” his biggest release to date, and the jubilant “Jaiye.” These drops were, however, followed by an extended period of inactivity, which left fans of the singer on the edge of their seats, eager for what was to come next.

 

This new EP was ushered in with “BUST (Freestyle),” a SoundCloud loosie intended to satiate fans and then the lead single “Wassup,” which was released in early May. The tape’s new offerings are just as potent as the lead single, showcasing his growth since his 2023’s ‘Velvet.’ It includes production credits from names like Wana Sn and ELEMEN3 and a standout feature from label mate Zaylevelten.

 

Since his debut in 2022, Txmmyily has progressively developed his sound, evolving from his early beginnings where he experimented with different Hip-Hop subgenres, Indie Rock, and even Bedroom Pop into a more refined artist with a refreshing and distinguishable take on Afropop. This latest four-track collection serves as a testament to that evolution, highlighting his maturity as a songwriter and a successful transition from a promising singer finding his sound into a confident voice closer to fulfilling his immense potential. 

Listen to ‘Milly’ here.

Interview: Johnny Drille Wants You To Keep Pushing 

Posted on by The Native

Long-term fans and listeners of Johnny Drille have witnessed the evolution of the multi-dimensional singer and producer from a music reality TV star to a well-regarded musician in his rights. Another micro-evolution that has occurred in relation to Drille is a move to synthesize his Alternative Pop and R&B leaning with Afropop elements in recent years. His sophomore album, ‘Before the Morning Light,’ represents the richest fusion of all those influences into a coherent statement while decidedly moving away from the melancholia of his debut, ‘Before We Fall Asleep.’

“There’s a lot more confidence in what I’m doing and the music I’m making and just embracing this new hybrid of the sound that I’ve come to create,” he pointed out in a conversation about his new album with Apple Music’s Africa Now Radio. “It’s a lot happier than the previous album. It’s a lot more hopeful, and for me the title itself just represents knowing that hope is on the horizon. It’s about to be daylight.” Topping out at 14 songs, the singer runs through familiar topics like redemption, romance, and faithfulness with a reflective poise that has long been a Johnny Drille standard.

This conversation has been edited for length and clarity.    

What does ‘Before the Morning Light’ represent?

So, the very first album, which was ‘Before We Fall Asleep’ was a bit darker. There was a lot of uncertainty and I wasn’t exactly sure. You could tell from just listening to the album, it almost felt like I was divided and trying to figure out what the next direction for me [was]. Some sounds represented a part of me that a lot of my existing fans were already used to at the time and they loved, and then there was this new sound that I was exploring which I wasn’t so sure of. So, there was all that division internally. The thing with ‘Before the Morning Light,’ which is my new album, is that it’s a lot more certain. There’s a lot more confidence in what I’m doing and the music I’m making and just embracing this new hybrid of the sound that I’ve come to create. It’s a lot happier than the previous album. It’s a lot more hopeful, and for me the title itself just represents knowing that hope is on the horizon. It’s about to be daylight. The light’s about to come and it’s about to be after the darkest part of the night, after the hardest things you go through in life, the next thing that comes is joy in the morning. 

What emotions did you channel for the album?

For a lot of people, when they go through really hard times, it’s hard to see beyond that. You’re just stuck in that moment and you almost feel like you can’t get out of it and you kind of settle into it and that becomes your new reality. So, I guess this for me was to remind people that pain only lasts for a while and joy comes in the morning. It’s just temporary. As long as you keep pushing and you keep fighting, eventually the sun’s gonna shine for everyone.

Do you write from real life experiences?

Back then, almost 100% of what I wrote was from my personal experiences. But, over the years, I’ve started to collaborate more with a lot of people. At least 30% of the album, I collaborated on the songwriting with a bunch of amazing artists. At the same time, the songs that I chose from these artists, I only chose because I could hear myself in them, I could see myself in them. So, at the end of the day, it’s still very representative of me as a musician and where I’m at right now as a creative. A lot of the songs that I’ve worked on that people tend to connect the most with are the ones that I’ve written from experience. Songs like “Wait For Me,” songs like “How Are You My Friend,” songs like “Believe Me” and “Papa” and “Sister.”These songs come from a very personal place and I think people can tell sometimes when it’s very personal to you and somehow they seem to connect a lot more with those songs.

What was it like working with Angélique Kidjo?

Look, I have to pinch myself every time just to remind myself like I have a song with Angélique Kidjo. Interestingly, this is not the first time I’ve worked with her. This is the third time. The first time was on a song with Kizz Daniel but we didn’t really get to really talk or interact like that because I was just a featured artist. This one was very special to me because I’ve listened to Angélique Kidjo all my life. It’s crazy because I feel like I was like a kid, like a baby the first time I heard Angélique Kidjo. To be able to make music with such a legend, it just feels amazing, and I think it was just right for it to be the first song on the project because why not just start strong? She is amazing. She’s incredible. It’s such a privilege to be able to work with someone like that, and she was very kind. People that haven’t met Angélique Kidjo probably don’t know this about her, but she’s the most amazing person ever. The whole process of getting her to record and send back and feedback, she made it very easy for me and not to throw shade at anyone, but I’ve met famous people and I know how some of them can be. Just meeting someone like Angélique Kidjo and seeing how she’s been through it all, she’s seen it all, but she’s still so kind and so thoughtful and just such an amazing person. It just makes me want to be that regardless of how much success I attain.

How did your collaboration with Young Jonn and Ayra Starr come about?

I could have had both Ayra Starr and Young Jonn on different songs but I was like, you know what, let’s just overdo it. Let’s just put everybody on this one song. I’m grateful for that. Grateful for being able to work with people like this. Ayra Starr, I’ve collaborated with for so long. You know, I’ve literally been with her right from the beginning. I’ve mixed and mastered a lot of the songs she’s put out from “Rush” to “Commas.” Ayra is my family, and Young Jonn, talented producer first and then became such an incredible artist. I like to think that song is just perfection because it just has all the right people in there.

What song do you think you put the most into?

It’s definitely “Second Chance,” which is the last song on the project. That song I first wrote in 2022. I just couldn’t get it right for like three years. Then I was gonna put it out last year, during Valentine’s, but that didn’t happen. So, that song has had so many different versions because I was trying to represent something. If you listen to a lot of my music, you know a lot of the songs are very faith-based. Trying to juxtapose Christ dying on the cross, giving us a second chance and someone getting a second chance at love to do something right, to be kinder, to be more loving to your partner or to your child or to your friend or whatever that is. So, I was trying to make that song represent that idea, and it took forever. I think at some point I was gonna dump it, scrap it, and just start over. I’m grateful it finally came together, and it’s great to see the reception from the fans. But it was definitely the song that took the most from me. We are all human. I think in a world where some of social media is like trash, cancel this, do this. It’s okay to give that second chance, and I think that’s so important to give people a little grace as well.

How would you describe ‘Before the Morning Light’?

If ‘Before the Morning Light’ was a place, it would be home, and home for me would be where family is. That’s the best way I can describe it. It would be home.

Anaïs Cardot Is Bringing Intimate Emotions To Life

Posted on by Ozioma Nwabuikwu

Anaïs Cardot grew up surrounded by music. From early morning school runs with her father to obsessing over Hannah Montana to discovering his 7,000 song-iPod when he passed, Cardot’s love of music has remained a constant in her life. This music she found went on to shape her music taste and, eventually, her approach to her own music, particularly the works of Ella Fitzgerald, Jacque Brel, and various other Jazz, Bossa Nova and Soul artists. 

What started as making multilingual singing videos in her bedroom quickly turned into online fame, which led to work with Afropop icons like Wizkid, Asake and Alté  star, BOJ. In 2024, Cardot appeared on stage with Asake during a show at the O2 arena, and this year, she made her COLORS debut. The latter was a lifelong dream of hers, and both achievements are what she calls her “Hannah Montana moments.”

 

But long before Cardot put on her metaphorical blond wig, she was a student in Ottawa, Canada, doing her best to keep her music dream going while finishing high school and university. Born in Gabon and raised between the Central African country, south of France, South Africa and Canada, Cardot is no stranger to moving around. While Ottawa was a good home to Cardot, filled with family, friendship and numerous creative collaborations, it was in Paris that the young singer was  able to spread her wings, leading to the birth of her sophomore EP, ‘Map of Her Shadows.’ 

“I feel like when I was in Ottawa, I was really in my comfort zone,” she says.  “I didn’t have to be challenged in any way, or at least I was not challenged enough. I feel like moving to France really taught me how to fight for myself, step up for myself, and speak for myself.” ‘Map of Her Shadows’ finds Cardot at her most mature and open with exquisite production and instrumentation ranging from  Folk, Soul and Jazz. 

At first glance, ‘Map of Her Shadow’ reads like a letter to an ex relationship. Perhaps that’s what we’ve come to expect of all Soul-bearing music, but Cardot is actually battling with a different kind of relationship, specifically her relationship with her family. The penultimate track, “Second Hand,” details a familial relationship in which apologies are few and far between. “To be honest, my heart didn’t have enough space to talk about [romantic relationships], because it was so full of other relationships, with my family and with myself,” she says.  “My family made me grow so much. So I wanted to talk about it and explain these fears and pain that I’ve been carrying on myself since I was a kid.” 

 

Dealing with the complexities of these relationships and the fears accompanying them has not been easy, as there’s little she can control, including fears of family aging. On the other hand, her family, especially her sister, is a huge support as she navigates her artistry and online fame. She’s determined to take the bitter with the sweet because she hopes to break generational curses by being vulnerable about these fears and frustrations through the music. By doing so, she hopes to help others. “I feel like I make the music that I wish I could hear when I’m not feeling good,” she notes. “So I feel like yeah, I’m embracing the sadness now.”

Cardot is also navigating a complex relationship with life itself. The project begins with “Beautiful Liar,” or as she artfully describes it, “a diss track to life.” It deals with the feeling of being duped or lied to by life; a soundtrack to her fears of getting something different than what you expected from life, both the good and the bad. 

“Life is not binary, it’s not black or white,” she says. “When I was a kid, I thought it was just that or that, but actually, it’s everything at the same time. Life is still beautiful, but since it’s so beautiful, I was able to be lied to by [it].” On the last track, “Wave Goodbye”, Cardot reaches some sort of release in the form of detachment and acceptance of what she can’t control. “It’s me allowing myself to feel these things and accepting them.”

To bring these intricate themes to life, Cardot knew she had to go bigger with the production. After successful stints operating within Afropop pockets, she saw this new EP as an opportunity to dive fully into other genres, including Folk, Soul and Jazz. “I really wanted to be more concrete with what I want to offer musically, and so this is why I really wanted to just make [the production] richer.” Cardot worked with some of the most prolific British producers such as TSB (J Hus andDave), the Grammy-winning Venna (Burna Boy and Beyoncé) and PRGRSHN (Stormzy and Nao), and international creatives including LJay Currie (Drake) and Marc Antoine. 

After mastering the themes and the production of this new EP, there was only one more avenue of storytelling for Cardot to explore: live performance. She wants her music to reach as many people as possible; it’s one of the reasons she sings in French, Portuguese and Spanish in addition to English. So, for the singer, stage performance was a natural next step. Despite her disability, arthrogryposis, which makes it hard for her to stand for long periods, Cardot has adapted wonderfully with the help of her team. 

One of the main changes to her live performance style is a custom-built chair, inspired by African furniture she had growing up, as well as storytelling traditions of the continent. The chair made its first appearance during Cardot’s recent COLORS debut. “I feel like you can listen to music as much as you want on Spotify, on Apple Music, and all of that [but] you will not get it as much as when it’s live,” she says. “I feel like music has another dimension when it comes to being performed on stage.”

Cardot’s disability has not hampered her dreams or achievements; in fact, it’s propelled her. “It’s so funny, I was just raised to not think that I have a limit,” she affirms. This doesn’t mean she hasn’t felt the limits of accessibility and the performance expectations of artists; it just means she’s not afraid to build around it. She feels a duty to keep advocating for accessibility. “I feel like we’re in need of people with disabilities to make art more accessible, because art is not as accessible as we think,” she says.  

At the end of the day, Cardot wants her music to be proof that anyone can do it too. She hopes this new offering provides a lot of peace, comfort and love, despite its sadder themes. “We can actually do anything we want if you put your mind to it, we can do anything we want,” she says. “Anything we need, we can have it, but it’s just a matter of being ready or not.” 

Listen to ‘Map of Her Shadows’ here.  

The Shuffle: Musiliu Haruna Ishola’s ‘Soyoyo’ Revived A Storied Yoruba Oral Genre 

Posted on by Wale Oloworekende

No one quite knows what makes a genre live on or what forces conspire to make a style of music timeless and forever influential to the memory of the people it serves. For a while after the legendary Haruna Ishola died in November 1983, Apala, the dense and grungy percussion-led style of Yoruba oral music that held sway in the 1960s and 1970s, was at real risk of fizzling out due to a lack of ready heirs. The legend’s son, Musiliu Haruna Ishola, had long served as a driver and tour manager for his father but had not really dabbled wholeheartedly into the music at the point of his father’s passing, further exacerbating the succession crisis within Apala. 

As history has gone on to prove, there was nothing to worry about. Just one month after his father’s passing, Musiliu Haruna Ishola would call on the sons of his father’s bandmembers, forming his own band and committing to carry on the legacy of his father’s music through Apala. For the next 13 years, Musiliu Haruna Ishola and his band toiled endlessly, trying to revive Apala in the consciousness of a country that was undergoing waves of critical socio-economic, cultural,  and political evolutions. A debut album, ‘Apala Resurrection,’ arrived in 1996 to mild commercial success; still, it didn’t provide the breakthrough moment that the genre and Musiliu Haruna Ishola were quite waiting for . 

That moment would arrive four years later with the release of ‘Soyoyo,’ a richly textured album that had all the hallmarks of a classic Apala album, balancing Ishola’s vocal calisthenics with a raspy drumming style that matched his drawn-out delivery style without hollowing out the weight of his words. Recorded on a whim after a trip to Abeokuta where he met a promoter who owned Jooat Records,  ‘Soyoyo’ was a callback to a line from his father’s iconic single “Ina Ran”,  off a 1974 album of the same name. Just by the virtue of its title and the legacy of its creator, ‘Soyoyo’ existed as a doorway between generations. It gestured towards the rich history of Apala as an aural archive of a people’s narratives, joys, and attitude while bringing that nostalgic sheen into the  future for a new generation of listeners. 

Despite some critics railing against the release as a pastiche of his father’s best works, Musiliu was undoubted and it also helped that the music and delivery on  ‘Soyoyo’ was seriously good, melding the allegorical essence of Apala with a forward-facing sensibility that softened–and broadened–the genre’s appeal. Opening the album with his deep baritone, Musiliu declares that, “Ise oluwa ko seni toye” over engrossing drum loops that loosen over the course of the track. Translating to “God’s work is a mystery,” the track declares the primacy of God as indisputable and supreme over the invocation and individual ideological leanings of pastors and imams. It sets the stage for him to declare himself the leading Apala performer of his generation, deliriously singing, “B’orin ba dùn, bi o dun, ẹni gbó wo lo mi a wi/ Àwa ní bàbà e yẹ ma ṣ’agídí.” 

 

Traditionally, Yoruba oral music was recorded in one long go, and that wasn’t quite suited to the Western style of sequencing that prioritised easily identifiable start-and-stop points and suave transitions that would double as sleight of the hand. ‘Soyoyo’ stayed tethered to the fundamentals of its predecessors, recorded as a series of inner monologues played out for public consumption. As such, the album’s streaming version does not have the slick transitions that have become de jure in Afropop, instead what we get is often abrupt ends in one place and Musiliu’s voice rising with the force of an ocean wave on another track as the sync between “Ise Oluwa Ko Seni To Ye” and “Opon Apala Ti Sun” exemplify.  

“Opon Apala Ti Sun” is listed as a different song but it operates on the same wavelength as its predecessor, promoting the idea of Musiliu Haruna Ishola as the undisputed leader of Apala in the country with lines like “Musiliu, awa lalapala gidi” and “Mo ti so tele tele pe Tunde Ishola ni president fun awon alapala” further entrenching that position. Where his delivery on “Ise Oluwa Ko Seni To Ye” was mellow and reverential in turns, his flow on “Opon Apala Ti Sun” is decidedly magisterial, embodying the essence of his lyrics as the leading Apala practitioner of his age at a time when the genre was locked in a battle for its continued survival. 

Respect for elders is an important part of the Yoruba cosmogony and, for all of his belligerent posturing on the opening stretch of  ‘Soyoyo,’ Musiliu Haruna Ishola is adept at putting his elders on a pedestal while requesting for their goodwill as he does on “Eyin Agba.” Over shakers, claves, and agogo bells, the fourth generation Apala singer sings about placing himself at the mercy of the elders and requesting their blessings while admitting, “Omo yin l’aje ogbon o de bi kan.” It is often believed that elders have insight into the metaphysical and when he sings, “Eyin Eyin agba o, o-ay/ Eyin agba t’e ba ri pe a ṣe yín/ E ma ro’jo wa s’ibi t’o ṣoro,” Musiliu is requesting that that supposed access to the metaphysical is not weaponised against him. 

 

Much of what makes Apala so celebrated is the interplay between its lyrical rigour and the instrumentation that provides structure for what is being said.  ‘Soyoyo’ benefits from some serious instrumental work. The percussion on “Akoko Olute Lorin Wa” rises and falls with Musiliu Ishola’s enunciation, displaying supreme chemistry between the singer and his band. “Ba O Ri Igun Ao Gbodo Sebo” also benefits from that imperious beatwork, platforming the singer’s voice over steely percussion. For the length of their existence, Yoruba oral genres have always reflected what was going on around them and, released in 2000,  ‘Soyoyo’ paints a vivid, if patronistic image of southwest Nigeria’s Nigeria’s post-1999 political space and its power players, referencing political leaders and monarchs while urging them to deliver for their constituents. 

In 1971, Haruna Ishola released his most acclaimed album, ‘Oroki Social Club,’ named after a popular club in Osogbo, Osun state he frequented with his band. 29 years later, Musliu Haruna Ishola would borrow a leaf from his father’s book and name a track on his album “Fadaka Club,” riffing off his father’s flow for a dedication to the Mushin-based social club that name-dropped some of the club’s most prominent members. As with most Yoruba oral genres, praise-singing remains a central tenet of Apala, and  ‘Soyoyo’ finds Musliu Haruna Ishola paying homage to some well-known Yoruba figures from the late 1990s such as Mrs Lydia Fasewe and Gbenga Adeboye as well as President Olusegun Obasanjo and his vice president, Atiku Abubakar. 

 

 ‘Soyoyo’ didn’t necessarily catch fire upon release. In an interview with Punch, Musliu Haruna Ishola admitted that the album didn’t make sales months after its release until a turning point nine months later. When it did rise to prominence,  ‘Soyoyo’ became inescapable, soundtracking naming ceremonies, wedding parties, and burial celebrations with a fervid clamour that was unheard of for Apala at that time. 26 years later, ‘Soyoyo’ is a time capsule of Apala in its most propulsive 21st century re-imagination. Even then, Musiliu was handing down notes on how to adapt the genre for generations to come as the Hip-Hop-inflected “My Dear (Apala Remix)” would prove. By virtue of its success and acceptance, ‘Soyoyo’ ensured that Apala endured for another generation rather than being confined to the annals of history as a fossil of music’s hybridization. For that, we can thank Musiliu Haruna Ishola everytime a favourite from  ‘Soyoyo’  comes on at parties. 

CKay’s New Era Is Bigger and Bolder

Posted on by Folake Ajao

For a long time, the world experienced CKay through intimacy. His music carried a softness that felt immediate and unforced, built around emotion that sat very close to the surface. The writing did not hide vulnerability, the production left enough space for feeling to breathe, and his voice often sounded like it belonged in private listening rather than public consumption. 

When “Love Nwantiti” broke globally, that identity locked in quickly. The record did more than introduce CKay to a wider audience. It defined how he would be perceived for years after. It moved through TikTok, entered mainstream charts across continents, and became one of the most recognisable Afropop crossover records of its time. With that kind of reach, the image formed early and stayed fixed. CKay became the artist of softness, the voice of emotional openness, the figure associated with romantic directness in music that felt personal.

 

The challenge with that level of visibility is that it often freezes artists inside their first widely received version. Even when the music begins to shift, perception takes longer to adjust. That is where CKay’s trajectory becomes more interesting, because while public attention remained anchored to that early emotional framing, the music itself had already started moving into a different space. 

The shift did not happen abruptly or through reinvention. It happened gradually through production choices and the environments the music started to belong to. The emotional core remained, but it stopped being the only layer that defined the sound. The records began to feel heavier and more designed for shared spaces rather than isolated listening.

“BODY” was where that change became fully visible. The record still carried CKay’s melodic instincts, but they were now placed inside a structure built for movement and energy. The Mara-inspired bounce gave it a different kind of momentum, while the percussion and rhythm leaned toward club functionality rather than emotional stillness. 

What stood out was not just the sound itself but how naturally it arrived. There was no sense of forced transition or calculated repositioning. The record felt like an extension of his foundation rather than a departure from it, and that is why it worked. It did not erase what came before; it expanded it into a different environment where emotion was still present but expressed through rhythm and energy rather than quiet reflection.

The response reflected that shift in a very clear way. “BODY” became one of the most dominant Nigerian records of its cycle, spending more than fifty days at number one on Spotify Nigeria’s Daily Top Songs chart and setting a platform record in the process. Beyond the numbers, what mattered was how the song existed in everyday life. It became a constant presence in nightlife spaces, in clubs, in parties, in cars, and in public environments where music is experienced collectively. That kind of reach moves an artist out of a narrow emotional association and places them into a broader cultural space where their music is not just heard but lived with. For CKay, it signalled that his reach was no longer limited to the emotional softness that first defined him publicly.

 

At the same time, the newer phase of his career has been marked by a noticeable shift in presence, not just in how his music sounds but in how his music is presented. The visuals are darker and more intentional, the styling carries more weight, and the performances feel less reserved. There is a stronger sense of control in how everything is framed. Even when the music leans into emotion, it no longer presents vulnerability as its defining centre. Instead, emotion sits alongside every other emotion his music tends to portray. 

What makes this evolution stand out is how it unfolded alongside a broader shift in Afropop production trends. As Amapiano influence expanded across the continent and became one of the dominant sounds shaping mainstream output, many artists leaned fully into its structure and rhythmic identity. CKay’s approach was more selective. 

Rather than fully absorbing the dominant wave, he built around a combination of Mara-inspired rhythm and Nigerian club energy, creating something that still feels connected to his melodic instincts but not dependent on any external sound trend. The result is music that functions in club environments without losing individuality and authenticity, and that balance is what separates it from more trend-driven records that often fade once the sound cycle shifts.

That distinction becomes clearer when you listen to the newer catalogue. The songs are built for movement, but they are not stripped of emotional clarity. The hooks remain strong, the melodies still carry familiarity, and the production supports both energy and mood at the same time. The difference is in density. The newer records feel more layered and more intentional in how they occupy space. They are not trying to replicate past success or chase external validation.

A lot of artists struggle with that stage of their career because global recognition often comes with pressure to maintain a specific identity. Once an artist becomes known for a particular emotional tone, there is an expectation that they continue delivering that exact feeling repeatedly. CKay avoided that trap by not abandoning his original emotional language, but he also did not allow it to limit him. Instead, he stretched it into different contexts, placing it inside rhythm-heavy production and letting it coexist with a more confident sonic identity.

“African Girls” continues that trajectory. The record fits comfortably into his current sound world, with production that feels more expansive and delivery that sits firmly in control. It does not function as a reinvention moment or a sudden pivot. It sits within a pattern that has already been forming for several releases, where CKay’s music increasingly operates with clarity and intent rather than exploration. The emotional undertone is still present, but it is no longer the only point of focus. The music now carries structure and a stronger sense of atmosphere that aligns more with nightlife environments than with the isolated emotional spaces of his early work.

 

What defines this current phase is how settled it feels. The music no longer sounds like it is searching for identity. The choices feel deliberate, and the execution feels grounded in experience rather than experimentation. There is a clear understanding of how melody, rhythm, and atmosphere interact within his work now, and that understanding shapes every release. The result is an artist whose current output no longer relies on past references to be understood. The music carries its own explanation in real time, shaped by growth that has already happened.

Best New Music: Zaylevelten Is In Menacing Mood On “Talk Freestyle” 

Posted on by Boluwatife Adeyemi

One thing is clear about Zaylevelten: He lives his raps. On “Guide Pass,” one of his biggest singles yet, he raps ‘Try me, get my yami wey go bounce you,’ and that’s precisely what happened a few days ago.

 

Over the weekend, there was a viral altercation between Carter Efe and the rising rapper and his team at Famous Pluto’s debut album release party, resulting in a heated exchange caught on stream. Carter Efe immediately expressed his frustrations at being denied an interview, calling out the perceived pride of Zaylevelten, his team, and up-and-coming artists in general. 

The following day, Zaylevelten addressed the debacle on “Talk Freestyle,” a new release that was leaked via his manager’s Soundcloud page. Halfway into the freestyle, Zaylevelten directed some pointed shots at Carter Efe. ‘Because I dey spit, you think say I be Carter Efe,’ he raps cheekily, dissing the streamer while flexing his lyrical ability. The freestyle is buoyed by this sort of sharp wordplay and a demeanour that radiates the same level of self-assurance and confidence that has defined his journey to date. He goes on to ask rhetorically: ‘Why e dey pain you, if you no see the wave why e dey pain you,’ sending a strong message that he’s unmoved by industry fluff and not interested in sucking up to gatekeepers or figures like Carter Efe. 

Before shelling out some lines for the popular streamer, Zaylevelten establishes a firm boundary, cautioning listeners against interpreting his silence as a sign of weakness. ‘Because I no wan talk, dem dey talk,’ he asserts early on in the freestyle. Similar to how Asake addressed some of the backchat about him on “Military,” an Audiomack-exclusive where he rebuffed several misconceptions about him, Zaylevelten uses “Talk Freestyle” as an opportunity to seize control of his own narrative, putting everyone on notice that he’s not one to be messed with.

If some of his earlier lines didn’t convey his message properly, he raps, ‘E get some kind men wey dey follow me, Thank God say dem no follow me come,’ with a menacing tone towards the end of the freestyle, warning future trespassers that shit ain’t sweet. This sort of cocksure approach is precisely what makes “Talk Freestyle” excel. Zay is setting the terms for his engagement with the industry, while also showcasing the grit and unfiltered lyricism that have fueled his rapid ascent. 

Listen to “Talk Freestyle” here. 

Track-By-Track: Famous PLuto Walks Us Through ‘Street Therapist’

Posted on by Boluwatife Adeyemi

A few years before Famous PLuto arrived on the scene, his big brothers, Shallipopi and Zerrydl, had already familiarised the Afropop world with their electric Plutomania sound that had dancefloors pulsating across the country. This distinct sonic identity, characterised by its infectious energy and street-savvy lyricism, paved the way for many, including the youngest of the Uzamas, Famous PLuto, to carve out their own niche within the thriving ecosystem of the Street-Pop sound.

Famous Pluto established himself as a key figure in this unique movement following his official debut in early 2025 with the single “Na Scra.” After building significant online momentum through multiple viral freestyles, the track’s immediate commercial success secured his position in the mainstream alongside his brothers. His rapid ascent was further marked by a standout feature on the “1 Work Remix” by Zhus Djo and the release of his five-track EP, ‘Uzama The 3rd,’ which featured  highlights like “Ewo” and the Jeriq-assisted “Osusu.”

Now, a little over a year since his first single, his official debut album ‘Street Therapist’ is here. The 11-track project was supported by two pre-released singles, “Jembe” and “14DRoad,” both of which feature Mavo and Zlatan, respectively. The new releases include highlights like “Choose Me,” “Praise and Worship,” “Satisfied (18+)” and a guest list that features names like Zaylevelten, Brazy and Muyeez. ‘I chose Street Therapist because of the kind of music I make,’ he tells  NATIVE Mag, explaining his reasons for deciding on his album title. ‘It’s like I’m passing advice through my songs for the street.’ 

Ahead of the album release, we caught up with the rapper and singer to break down each track on his debut. 

“Intro”

I did the intro to the project after I came back from a meeting where they were telling me how successful I had become. So I decided to brag about myself on this opening track. The song was produced by JAZZMAN Beats. 

 

“Satisfied (18+)”

On this song, I was basically talking about how I don’t think I can be in love because I love hooks. I decided to put the 18+ in the title on purpose to indicate this. The session where I recorded this is my favourite recording session during the process of making this project. Everything came so easily. 

 

“Group Chat” ft Muyeez

This song is probably the fourth song I made with Muyeez. Muyeez and I have recorded quite a number of songs together, but I wasn’t satisfied with those songs because it wasn’t really my vibe. So I played this Amapiano beat for him one day, and he started vibing to it and did the chorus. Three days later, I added my verses to the song, and that’s how we made “Group Chat.”

 

“Lakute”

Lakute is my friend’s name. I made this song for him back in 2023, and it went viral on TikTok. It had over 100k videos on the app. Since the freestyle went viral, people have been asking me to drop the song officially, and so I decided to add it to this project. The chorus is pretty much the same from 2023, but I added two extra verses to this version on the project. 

 

“Choose Me” ft Zaylevelten

The first time I came across Zay, his sound seemed very unique, and I knew it was something I could jump on. I texted him, and I was like, ‘Omo, we need to make a song together.’ I sent him like three beats, but he wasn’t satisfied with them, so he decided to produce the beat for “Choose Me.” We recorded two songs, but we decided to go with this one eventually. 

 

“Praise and Worship” ft Brazy

The first time I heard the beat for this song, my head was screaming ‘Brazy, Brazy, Brazy.’ She seemed like the perfect fit for the beat. I listen to Brazy a lot. I like “Attends” and “Take Your Vibe and Go” with Kah-lo. I recorded my verse first and sent it to her, and she sent in her verse asap. 

 

“For Days”

“For Days” is the story of my mum and I years ago when we were suffering in Benin. I was basically narrating that whole experience in this song. 

 

“Work”

This was inspired by Rihanna’s “Work.” I changed the lyrics of the hook to ‘Monkey dey hustle, Baboon dey cash out, e no fit work.’ 

 

“Jembe” ft Mavo

I recorded this in September 2025 when I had just returned from my first European tour. I was headed to 808’s party, and Mavo hit me up, saying we needed to record that day. I wasn’t even planning to record that day, but we ended up recording the song very close to the party. That’s why I was saying ‘Make we party next door, say, E dey burst.’ There was literally a party next door. 

 

“14DRoad” ft Zlatan

I met Zanku backstage at Mavo’s show, and I told him about the song. I had teased the song on TikTok, and it was already going crazy, so I told him I would love him to hop on the song. He asked me to send it over, and he sent a verse back. That’s how I gauge what my fans want sometimes. I just tease these songs online, and if it gets a good reception, I’ll decide if I want to release them officially. 

 

“Yeyeye”

I was talking about my ex on this. 

 

Listen to ‘Street Therapist‘ here.