NCVRD: How Jesse Jay created the visual world around Kirani Ayat’s ‘Aisha’s Sun’
“Everything done on this cover was deliberate”
In mid-September, Ghanaian rap artist Kirani Ayat finally released his long-delayed debut album, ‘Aisha’s Sun’. For a project that had been nearly half-a-decade in the making, and almost entirely scrapped for its current version, it came with the stakes of being a resounding statement, especially for an artist that had spent the more recent years of his career trying to move past the idea of what could have been.
‘Aisha’s Sun’ is one of the most inventive and self-assured rap albums from this side of the world in 2022. Leaning heavily into his Hausa heritage, tapping the distinct twang of its folk music and wholly embracing a culture shared across multiple countries in West Africa, Kirani Ayat presents himself as a man with his own identity, furnished by the support of his family, buoyed by the lessons he’s picked up in the years, and confident that he’s walking the path meant for him. Even if you don’t understand Hausa, the language he predominantly raps and sings in, the qualities of the album are palpable.
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(@kiraniayat)Just like the eyes are the window to the soul, the window to the soul of ‘Aisha’s Sun’ is its wonderful cover art. Vivid and smouldering, it aptly pre-empts the intensity of the album, as well as the rustic overtones that guide the project, both musically and parochially—via Kirani’s undying love for his hometown of Madina. “Everything done on this cover was deliberate,” cover art illustrator and designer Jesse Jay tells me over a Google Meet call, going on to breakdown the importance of the elements that make up the cover.
Before he got to illustrating, Jesse sat with Kirani Ayat, who gave him an in-depth view into his music journey and how it tied into ‘Aisha’s Sun’, creating a well of inspiration for the artist to draw from. Before that, the two had never met, only connecting through the production company Jesse works with, North Production.
A self-taught artist, Jesse Jay started off his art journey by doodling like many young kids, eventually using the internet as the tool to further his skill. “I just knew I loved art,” he tells me. Transitioning from portraiture to concept-fuelled work fairly recently, this cover for ‘Aisha’s Sun’ shows that his “blend of abstract and realism” is clearly driven by both his ability to create imaginatively and synthesise relevant information.
Our conversation with Jess Jay follows below and has been lightly edited for clarity.
NATIVE: Do you have a formal background in drawing?
Jesse Jay: No, I never went to art school or anything like that. I just knew I loved art. I always had screen savers of people’s art on my phone, I read a few articles on how to draw, how to paint, and started practicing. I mean, I did little sketches as a kid, like those chairs and tables that we did when we were younger. Then I progressed to drawing more complex stuff, like human beings, in a very minimal way. That’s how I evolved.
Can you remember your first commission when you started taking illustrating more serious?
My first commission was basically portraits of a few people. I just really transitioned into drawing concept illustration. The portrait work was like five years.
What was the motivation behind that transition?
For me, I’ve always loved to create illustrations that cannot be exactly mimicked on camera. I always like to have a blend of abstract and realism, so I can work with different colours, different textures and strokes.
For a self-taught artist, how did you know you were evolving on the right part?
Basically, I follow other artists who are really good and clearly have a lot of experience and skill. Like I said, I read articles and I watch videos, and I also practice a lot. That’s how I know I’m learning.
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What was your first music industry-related gig?
I did a cover art, just something I was playing with—it wasn’t commissioned. It was for a song by Medikal and Joey B, “Green Tea”, like two or three years ago. That was the beginning of my concept art journey with relation to music, it was more like an experimental process for me. It had some buzz, got some followers and recommendations here and there. Right now, I work with a team, North Productions, and that was a part of the process for me.
Is that how you connected with Kirani Ayat?
Yeah. I’d never met him, it was my boss at North Productions that introduced me to Kirani and gave me the opportunity to work on the cover art.
What was the process like for ‘Aisha’s Sun’?
It was a fun and interesting project. I enjoyed every bit of it, because it was more like him describing his story, what went on with his music career. Apparently, Kirani Ayat was living with his grandma, but his mum wasn’t supportive of his career as an artist, and his grandma later got influenced by his mum, so she also didn’t like the fact that he was in the music industry. Years after, they finally gave him that support and blessing for his music career, and they backed him spiritually with prayers. That was one of the things he described as a background for the cover, and we just went from there.
Were you able to sit with the music as well?
After he described the whole story, he shared a links to some of the project, because he was still wrapping things up. I listened to some of it, not the entire album, and it also really helped with inspiration.
The best way I can describe the cover is vivid. What were the intentions behind creating the cover?
Everything done on this cover was deliberate. I started off with the background. Kirani comes from the northern part of Ghana, it has lots of red dirt on the ground, so I was inspired by that and you can see it on the cover. Instead of a blue sky, I wanted to exaggerate so I made it a red sky and it matches the sort of dusty environment around him. The sun behind him is his grandma and mum. ‘Aisha’s Sun’ is a homophone of the word son, so if you are a sun, that means your parent or whoever is taking care of you is a sun. The sun depicts energy, it depicts life, it depicts family as a circle, and it depicts positivity and confidence.
Then there’s the little circle on his neck with chalk which flows into these wavey strokes, and that’s a representation of his sound. There’s a red scarf on his neck depicting bloodlines. If you look closely, the road is more like a triangle, a pointing arrow. There are huts on the sides, just like a depiction of community and to give some symmetry, and the cable in the back depicts the township.
Were you also responsible for the text selection, because that’s really eye-catching?
Yeah, it’s actually custom made for the album. It was done from scratch by me.
Did you have to go through multiple sketches of these parts for the cover?
Nah, it was just one take. We had a lot of references to go through—mostly pictures of Kirani—and the story he also provided was inspirational. The whole idea was to create some earthy and something traditional, because of the sound. With him shirtless on the cover also, it just fit that direction.
NCVRD: HOW SINALO NGCABA CREATED NATIVE SOUND SYSTEM’S ‘NATIVEWORLD’
Skyla Tylaa Is Taking Off
For the next phase of her career, Skyla Tylaa is actively working on creating music while entertaining with...
As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was music or stage performances, she found herself exploring these interests intently from a young age. That devotion manifested in multiple ways – her attending the BRIT School and Sylvia Young Theatre School where she performed in a West End production of Annie or her fiddling with several musical instruments while she figured out her creative identity. Through it all, music was a constant, the backdrop to her home life where she grew up between Jamaican and English influences. She remembers being exposed to Drum & Bass, Funky House, and Garage. “I think that’s had a big influence in my DJ career,” Skyla Tylaa admits.
Progressing into adulthood, those musical influences persisted even if she didn’t always engage with them professionally. Things changed when she started DJ-ing during the COVID-19 pandemic. Possessed by a visceral desire to experience the euphoria of interacting with people through music, she burrowed deeper into DJ-ing. “I couldn’t be in my room and just have people commenting,” she recalls. “I need to see people’s energy, and feel everything in the moment.”
Since then, she’s enjoyed a meteoric rise that has taken the world by storm. Mentored by DJ Tunez, she performed multiple times on the American leg of Wizkid’s ‘Made In Lagos’ tour and came out of the experience raring to go. “Opening for Wizkid on his tour was a transformative experience,” she says. “It taught me a lot about resilience and adaptability in my craft. I was still pretty much a start-up DJ when I went on tour and it made me really realise how important it is to connect with the audience. Touring from city to city with different crowds, it helped me to learn how to read the room and keep the vibe going.”
Almost as importantly for Skyla Tylaa, Rihanna was present at one of those tour stops and was impressed by her set, stopping by after the show to congratulate her. “After that I felt like I could conquer the world,” she says. Since then, she’s been selected by Rihanna to DJ at a Fenty X Puma Creeper launch event in London in 2024, marking a full-circle moment between the women.
Like Rihanna, Skyla Tylaa is inspired by music from the breadth of the Black diaspora, playing sets that take as much influence from the fervid restlessness of Hip-hop as they do the wavy melodies of House music, and the dancefloor summons of Afrobeats “I love partying! I genuinely love it,” she explains. “When preparing my sets, I’m always thinking of people having a good time. Whatever I can do to connect with them, I’m down to do it!”
In the last few years, few genres have shown the propensity for inspiring a great time with the regularity that Amapiano does. From Johannesburg to Windhoek, to Lagos, London, and New York, the log drums and mutating basslines of the genre have proven integral to a new Pop framework that is as amorphous as it is exhilarating. Since first hearing the genre while on a visit to Ghana years ago, Skyla Tylaa has been hooked. “It was the log drum, the sound, just the vibes that came with it,” she says. “I was like ‘wait – what is this?’ When you hear Amapiano, it’s one of those sounds that no matter what, you’re gonna dance.”
Diving into the genre, she’s picked up valuable lessons from important figures like Maphorisa, Uncle Vinny and Major League DJz while putting her youthful spin on the sound. It’s all coming together for the DJ who’s working with her sister, music heavyweight Jada Pollock, to figure it all out one step at a time. “When I found my passion for DJing, Jada was right there, urging me to dive into the ‘Made in Lagos’ tour,” she says. “I wasn’t sure I was ready, but she believed in me and knew I could handle it. My love for music has been with me since school; it just took some time for me to realize that this was the direction I wanted to pursue. Once I found my calling, her support became endless–she attended my early gigs and pushed me to perform at major festivals like Afro Nation.”
She’s since performed at leading festivals such as Wireless, Piano People and Australia’s Promiseland as well as selling out headline shows across London, London, and Ghana. For the next phase of her career, she’s actively working on creating music. This month, she released her debut single, “Bombshell,” a searing Amapiano banger that has all the hallmarks of a potential summer hit. “Bombshell” features Tanzanian Bongo Flava act, Diamond Platnumz, as well as South African acts, Tyler ICU, Khalil Harrison, and DJ Exit. It’s a blockbuster showing that sits well in the tradition of the genre. “The idea was initially played to me by Tyler ICU in March 2024,” Skyla Tylaa says. “He and I had a session while he was in London, and this was one of the ideas we worked on. Khalil was already on it, at the time, and I loved what I heard!”
After seeding it into her live sets last summer and starting live teasers with a dance challenge, Diamond Platnumz reached out about potentially working on the song and it was arranged. “I started teasing the new version of the song in my sets and then a whole new viral dance challenge came about online in December,” she says. “From that point, I knew the track had all the elements (features included) to be a big release in 2025 !” For DJ Exit, a chance to be part of a transformative song like “Bombshell” was an opportunity he didn’t want to pass up. “What drew me to this single was the chance to be part of something boundary-breaking,” he explains. “Gqom and Amapiano are both powerful in their own right, but fusing the raw, percussive energy of Gqom with the soulful, hypnotic swing of Amapiano creates a sound the world hasn’t fully experienced yet. This isn’t just another collaboration–it’s a cultural statement.”
The Xhosa word, ‘basazomangala,’ meaning ‘to be shocked,’ is uttered several times on “Bombshell,” and it reflects the message that Harrison was trying to pass on the track. ““Bombshell” is really about letting people know that there’s still so much more to come from me,” he says. “It’s a celebration of the present moment, but also a reminder that this is just the beginning. We’re all dancing to what’s happening now, but there’s an energy in the air that says the best is yet to come.”
In light of Amapiano’s rise to global prominence and the international acclaim it enjoys, Harrison is right about more things being on the horizon, and Skyla Tylaa agrees with him: “When I was introduced to Amapiano, I fell in love instantly and that time it was just on the verge of global appeal. It’s global now and still growing and that makes me appreciate it even more! I love it, and the world loves it! The feeling is mutual ! We can all enjoy it together!”
For Tyler ICU, having DJs from the diaspora like Skyla Tylaa engage with Amapiano and its culture is a win for the genre. “This shows the power of the genre–it’s not just a sound, it’s a movement,” he says. “When someone like Skyla, who appreciates the culture and brings her own flavour, plays Amapiano in places like London, New York or Toronto, she’s not just playing music, she’s building bridges. That’s how we grow–by letting the world feel it in their own way, but staying true to where it started. It’s important that the roots are respected, but the branches can reach far.”
Just a couple of weeks since its release, “Bombshell” has crossed over 650,000 thousand views on YouTube and continues to be a sensation on TikTok. Like everything Skyla Tylaa has done up till now in her career, it’s shaping up perfectly and has shown that she has a knack for the right collaborations. She intends to keep making music. “This year, my focus is all about music,” she says. “I recently signed with Robots and Humans (Sony) in the UK and Epic in the US, which has given me a different level of drive to really want to create good music. I’m also looking forward to exploring the Afro-house genre and collaborating with other talented artists.”
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What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
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NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”
From working her way out of London’s Myatt’s Field, Tanika is now setting her sights on the bright lights...
Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.
Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter.
On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest.
Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song.
From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it.
Her answers, which follow below, have been lightly edited for clarity.
How would you describe where you are in your career right now?
I’m just enjoying the journey.
What does the release of “Fast Fwd” signify for you?
It signifies love.
Why is Kida Kudz a fit for the song? (
To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship.
You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work?
Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel. I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you. A lot of producers don’t really understand the importance of knowing the artist musically but he does.
What were you aiming for with the video?
To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.
Catch an exclusive view of “Fast Fwd” below.
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