We spoke to some Burna Boy fans about ‘African Giant’
The album is 3 years old today
Burna Boy’s star power is undeniable. Over the past few years, the Grammy-award winning artist has embarked on a peerless run, as he conquers all frontiers in his path to ubiquity. With every milestone he crosses, he manages to add a new layer of freshness to his artistry, taking on new styles and morphing with the times while staying true to himself and his core fans.
On his latest offering ‘Love, Damini,’ the Port Harcourt-born singer casts his sights on his biggest mission yet: himself. Across the project’s 19 tracks, Burna Boy delivers plaintive choruses and sharp verses cutting through a range of topics from love to becoming. While he’s always been a formidable singer, here he also sounds like she learned that with global superstardom comes the freedom to set ones own agenda.
Off the back of selling millions of records, hosting countless arenas across the globe, of which the most recent was the sold out 20,000 capacity at Madison Square Garden, Burna Boy continues to connect with his audiences back at home with familiar slangs and colourful lyrics that remind us he’ll never stray too far from home. While it was the ‘Twice As Tall’ that earned Damini Ogulu his Grammy, his 4th studio LP ‘African Giant’ that set him on his globe-throttling mission.
3 years ago today, just the release of ‘African Giant,’ his 4th studio album, Burna Boy was at a pivotal stage of his career. Afropop was witnessing early stages of its world dominating defining moment and artists such as Burna Boy, Wizkid, and more were at the forefront of that revolution. Coachella 2019 happened and then Burna Boy maintained that momentum with ‘African Giant,’ one of the most impressive body of works in Afropop today. The album featured a series of artists across the world, from Jorja Smith to Damian Marley to one of his icons, Angélique Kidjo and cut across many different genres and sounds, weaving poignant stories on the Nigerian Government to levelling up and attaining his achievements at the time.
The importance of an album such as ‘African Giant’ can simply not be overstated. To that end, today, on its third year anniversary, we spoke to a number of OG Burna Boy fans about the album that set Burna Boy on his current streak. Enjoy.
Sapphire (19)
Top 2 songs on ‘African Giant?’
“Gumbody” and “Anybody” but this was a very tough decision for me
What was your first impression of ‘African Giant’ when you initially heard the album? Was this an easy album to get into or did you need some time?
My first impression of African Giant, honestly speaking, I listened to the album head to tail at once this year. In the past, I just used to pick, play and go. It is a solid 10/10 album, in my opinion Burna’s best album till date. It is a masterpiece.
Three years from its releases, how impactful will you say ‘African Giant’ has been?
When I got this message I revisited the album and all I can is that shit is forever going to be legendary. The next generation and generation after that, will bow to the supremacy of that album. Everybody that listens to ‘African Giant’ will feel the impact of the album.
Chidinma – (26)
Top 2 songs on ‘African Giant’
My favourites are “Pull Up” and “Gum Body”
What was your first impression of ‘African Giant’ when you initially heard the album? Was this an easy album to get into or did you need some time?
I would say I liked it, I wasn’t entirely wowed initially but I knew it had a couple of good songs and the replay value was good too. For me because of the replay value I knew I was going to easily get into it. I just needed some time with it, that’s how I am with all Burna’s albums, I have to take my time to appreciate the art.
Three years from its releases, how impactful will you say ‘African Giant’ has been?
In terms of impact, I think it helped place Burna on a global scale. Most people might say “Ye” did that but I think ‘African Giant’ went on to solidify that, it Introduced Burna’s sound to the world and I’m happy about that for him.
Tobilola (23)
Top 2 songs on ‘African Giant?’
Honestly there are too many songs to pick from but i think i might just have to go with “African Giant” and “Omo”
What was your first impression of ‘African Giant’ when you initially heard the album? Was this an easy album to get into or did you need some time?
My first impression was that this was burna boy coming to prove himself honestly because the album is clearly a work of art, right from the first listen I was hooked and I’m even still hooked. Burna Boy created an unbelievably great album
Three years from its releases, how impactful will you say ‘African Giant’ has been?
I feel ‘African Giant’ was like a stepping stone for Burna Boy into the international scene which impacted the world of music as a whole because it literally got him his first grammy nomination. Before the album most international features were from the top dogs in the industry but after you’ll notice a lot of international artists started working a whole lot more with african artists which was a massive push for the continent as a whole.
Ade Tee (28)
Top 2 songs on ‘African Giant?’
“Gum body” and “Gbona” does it for me
What was your first impression of ‘African Giant’ when you initially heard the album? Was this an easy album to get into or did you need some time?
I’ve been a Burna girl since the days of “Like to party” so listening to ‘African Giant’ was very easy for me. I was basically like “yess Oluwa burna is back to finalise the statement he made with ‘Outside’ and he definitely did. The album is too solid.
Three years from its releases, how impactful will you say ‘African Giant’ has been?
Normally, Burna is a good story teller with his music so African Giant has been impactful and will always “Gbona feli” (be hot) in coming years. Burna Boy understands his audience and whether you’re an Outsider or not, you’ll feel the impact of his entire discography.
Haneefah (21)
Top 2 songs on ‘African Giant?’
That has to be “Dangote” and “Collateral Damage”
What was your first impression of ‘African Giant’ when you initially heard the album? Was this an easy album to get into or did you need some time?
My first impression was “this album is just there” then i listened to it again after and it was a really nice album. For me, it was one of those albums that just needed to grow on me and that happened in a twinkle of an eye, I git into the album quicker than I expected.
Three years from its releases, how impactful will you say ‘African Giant’ has been?
A couple years later, I feel like it has been impactful, it’s a very good body of work with so many classics, from songs like “Gum Body” to “Omo” you already know Burna finished work. I’m still upset that this wasn’t the album that won him his Grammy, It was almost just too good.
Tolu (30)
Top 2 songs on ‘African Giant?’
My top 2 songs on the african giant album are; Pull up and Different.
What was your first impression of ‘African Giant’ when you initially heard the album? Was this an easy album to get into or did you need some time?
I remember Burna saying he dropped the album because of the whole Africa giant, small and big font saga. I will say I loved the album more over the years. Initially when i heard i was expecting something just like outside but he showed us another part of him, and quite a number of songs on the album have come to stay .
Three years from its releases, how impactful will you say ‘African Giant’ has been?
The album has been impactful as a Nigerian especially, Burna Boy spoke about injustices and other stuff currently going on the nation, that’s him doing his part, and it definitely made impacts in certain other parts of the world, especially Nigerians in the diaspora.
Revisit ‘African Giant’ here
Featured Image Credits/The NATIVE
NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
Listen to the Rigo Kamp EP:
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South African House Duo, Black Motion, Return With Rhythmic “Khululeka”
The SA house music pioneers are back with a deeply moving and rhythmic new release.
South African house music pioneers, Black Motion, are back with a deeply moving and rhythmic new release titled “Khululeka.” True to its meaning in isiZulu— “be free” or “find peace”—this track is an anthem of liberation, urging listeners to let go, embrace love, and heal through the power of music.
With their signature percussion-driven melodies and the soul-stirring vocal chants of King Monopoly, “Khululeka” transcends the dancefloor. It is a spiritual and emotional journey, carrying an energy that is both uplifting and transformative. Whether in personal reflection or in the collective movement of a crowd, the song invites listeners to surrender to its message and rediscover love—both within and around them.
Since their formation in 2010 in Soshanguve, Black Motion—made up of Murdah Bongz (born Robert Mahosana), and Thabo (born Roy Thabo Mabogwane)—has become a dominant force in global house music. Their debut single, “Banane Mavoko,” put them on the map, and their albums, including the gold-certified Fortune Teller and the platinum-selling Ya Badimo, have cemented their status as pioneers of the genre. Their collaborations with artists like Oskido and Black Coffee, along with accolades such as multiple South African Music Awards (SAMAs), have solidified their place at the forefront of African electronic music.
Over the years, Black Motion has partnered with brands like Ballantine’s, Sony Xperia, and Coke Studio, and they are looking to partner with more under their new label Intascore, expanding their influence beyond music. With a combined social media reach of over 2.2 million followers, their music resonates with audiences worldwide, uniting people through rhythm, culture, and movement.
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KEMENA FINDS BALANCE
Following the release of '888', Kemena reflects on artistic evolution, self-acceptance, and balancing...
A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the joys of creating art, the clarity that powers ‘888,’ and the freedom he found in surrendering to his path. Even though we were speaking virtually, his presence feels steady. He is speaking with the quiet confidence that defines his music–intentional yet fluid, deeply personal yet resonant. Over the years, his artistry has evolved, shaped by a desire for creative independence and the pressures of an industry that often demands compromise.
With ‘888,’ Kemena has reclaimed his space. The project neither chases the mainstream nor rejects it; instead, it exists on its terms, rooted in self-assurance. Across seven tracks, he weaves through stories with a sharp lyrical style and layered production, a testament to an artist fully in tune with his craft. In many ways, ‘888’ feels like an arrival—not to the commercial peak the industry might expect, but to something more valuable: a place of artistic certainty.
Standout tracks like “Rainy Day” and “Bola” remind you that Kemena is a storyteller in more ways than one. On “Rainy Day” he flexes his production prowess but the summery vibe of the song does not blunt the sentimentality of his lyricism. With “Bola,” Kemena taps into his element, deploying witty puns and his brilliant approach of social commentary and “I’m not mad, just hungry” is as relatable as it is envy-worthy—to be so intertwined with a lover that they can complete your lines.
Totaling seven tracks with a runtime of 16 minutes, ‘888’ is brief but expansive, a collection of ruminative thoughts, nimble melodies, and declarations of self-assurance. There is no hesitance in Kemena’s voice when he speaks about the album, no lingering doubt about whether he made the right choices, which is the same confidence he’s communicating in “You don’t need me”. ‘888’ is the product of someone who knows who they are and, more importantly, knows that they do not have to prove it to anyone. From the powerful declaration of “I Will Never” to the easy groove of “Evelyn’s Vibration,” the album takes you on a journey. It is a return to himself, a rekindling of the mindset he had before industry expectations clouded his creative instincts. It is also reminiscent of ‘Bond,’ the project that first put him on the radar of music lovers.
“I made ‘Bond’ as a student,” he reflected during our conversation. “I wasn’t trying to be anything. I just wanted to make music. And then all of a sudden, people started calling me—people I never expected. That was how I got into songwriting for other artists. But somewhere along the line, I forgot what it felt like to make music just because I wanted to.” When I asked him how he found his way back, his answer was certain: “I stopped overthinking. I just made what felt right.”
Our conversation, lightly edited, follows.
‘888’ just dropped. How are you feeling?
I feel cool. It’s been nice. I feel like a celebrity, to be honest. I’ve done a couple of interviews already, and I feel like I’m saying the same thing over and over again. But that’s a good thing, right?
‘888’ feels different from ‘Guitars and Malaria.’ Did you approach this project differently?
‘888’ feels like me making music the way I want to again. With ‘Guitars and Malaria,’ there were a lot of industry conversations and people saying, “Work with this guy, collaborate with that person, do this to make the music more commercial.” I don’t regret making that album, but looking back, I think I was trying to fit into something instead of just being myself. I wouldn’t say I lost myself completely but, I lost the balance between the business and my authenticity. I started to feel like my music wasn’t valid unless it was getting industry attention. And for a while, I was chasing that. I was doing what I thought I should be doing, instead of what I wanted to do. I had to learn that I’m probably a project artist. I needed to stop feeling like my music wasn’t enough just because it wasn’t ‘blowing up.’
I started thinking about why people liked ‘Bond’ and, back then, I wasn’t overthinking it. I was a student just making music because I loved it. I wasn’t trying to force anything. But then, suddenly, things started happening—I started getting calls from people I never expected. That’s actually how I got into songwriting for other artists. People in the industry heard ‘Bond,’ reached out, and asked me to write for them. And before I knew it, I was deep in that world. But in the process, I started to forget what it felt like to just make music for me.
Was there a specific moment that made you realize you needed to return to that authenticity?
Yeah. At some point, I just stopped overthinking. I realized [that] I didn’t have to prove anything to anyone. I didn’t have to chase industry validation. I could just make what felt right. That’s where ‘888’ came from.
One of the things that stands out about your music is how it feels both deeply personal and universally relatable. Do your lyrics come from lived experiences?
Not exactly. I think the way my music is put together—the energy, the emotions—is influenced by what I’m going through at the time. But the actual content? Almost none of it comes from my personal life. I don’t write songs like, “Oh, this happened to me, let me put it in a song.” Instead, I take a feeling, a perspective, or something I’ve observed and build a fictional story around it. I also like humor. I like to be witty, to play with words in a way that feels natural but unexpected. That’s always been part of my music.
That makes sense. Your lyrics often have a layered meaning like they say one thing on the surface, but there’s a deeper story underneath.
Exactly. I like to phrase things in ways that make people stop and think. I want someone to hear a line and go, “I’ve thought about this before, but I never knew how to put it into words.” Or sometimes, I just want the music to feel good. It doesn’t always have to make sense, it just has to resonate.
Would you say that’s why artists like Omah Lay and Jon Bellion resonate with you? Because they do something similar with their songwriting?
Yes! Jon Bellion especially. His music is almost like sermons sometimes. He says things in a way that makes you pause and reflect. Like in “Conversations with My Wife,” when he sings, “What if all the things I’ve done were just attempts at earning love? Cause the hole inside my heart is stupid deep” That’s the kind of songwriting that gets to me. That’s such a simple way to express love. He could have said it in a hundred different ways, but he chose that one. That’s what I admire. Not just what they’re saying, but how they say it.
That approach is very present in your music, especially in ‘888.’ What’s your favorite lyrical moment on the album?
It’s a conversation. It’s not one person talking. On ‘I will never,’ there’s this part where one voice says, “The things you want for me, I want it too. The things you like for me, I like it too.” And then another voice—almost like a god-like figure—responds: “Hope you know that I would never say something I don’t mean.” That moment feels special to me. It’s basically a prayer, but I don’t like to box my lyrics in, I keep it open-ended.
With the album it feels like you weren’t just making music but you were reclaiming something. Would you say this project is a turning point for you?
Yes, I think so. It’s not my first turning point, though. ‘Bond’ was the first one. ‘Bond’ was the project that put me in rooms I never expected to be in. Before that, I was just a student making music. Then, suddenly, people were calling me—people I respected. That was how I got into songwriting for other artists. But then, in trying to navigate that world, I lost a bit of myself. ‘Guitars and Malaria’ was me trying to find that balance, and ‘888’ is me realizing that I don’t have to balance anything, I just have to be.
You’ve mentioned that you’re at peace with not chasing commercial success. Is there a part of you that wants mainstream recognition?
If it comes, great. But I’m not going to force it. I know how the game works. I’ve written for big artists, so I know the kind of songs that work in that space. And if I wanted to, I could sit down and make those songs. I could make music that fits neatly into what’s trending. But that’s not why I do this.
Does songwriting for other artists help you keep your music pure?
Yes! That’s a big part of it. Since I also write and produce for other artists, I don’t have to rely on my music to pay my bills. That takes a lot of pressure off. It means I can release what I want, when I want, without thinking, “Will this chart? Will this go viral?”
That freedom must be refreshing.
It is and it’s why I don’t overthink my releases anymore. I’m constantly creating. So when something feels ready, I put it out. I don’t have to wait for industry validation or the “perfect” timing.
What does that mean for the future? More projects?
A lot more. I’ve realized that my way forward is to just keep giving. The Lord has put me in a position where I can create without stress, so that’s what I’m going to do. No long breaks. No holding back. I’ll just keep releasing.
What is the biggest takeaway from ‘888’ for you?
That you don’t have to force anything. Whether it’s love, creativity, or success—what’s meant for you will come when you’re aligned with yourself. And if you have to fight too hard to keep something, maybe it was never really yours to begin with.
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