Four takeaways from Angelique Kidjo’s ‘Mother Nature’
Features Burna Boy, Yemi Alade, Mr Eazi & more
Angelique Kidjo is African music royalty and a global music icon. About three decades ago, the Beninese singer, songwriter and producer made her major-label debut with ‘Logozo’, a classic album that’s fundamental to the contemporary bridge between music made by Africans and the rest of the world. Commandeered by her equal parts agile and siren-like voice, the searing merger of traditional Folk rhythms with Disco’s shininess prioritised her African identity, while putting it in conversation with a world that was on a slow and steady track to globalisation.
Long before Afropop to the World became a rallying cry, Angelique Kidjo had been exporting music heavily influenced by both her Beninese roots and pan-Africanist curiosity. Constantly innovating and consistently captivating, with an unyielding dedication to presenting the continent in its regality and infinite potential, her sprawling discography is a treasure trove of invigorating numbers. For her excellence, Ms. Kidjo has won four Grammys for Best World Music Album, the most by an artist in that category.
As accomplished as she is, there are no signs that Ms. Kidjo will be slowing down anytime soon. Earlier this month, the revered artist put out her thirteenth studio album, ‘Mother Nature’. It includes previously released singles, “Dignity” and “Africa, One of a Kind,” featuring Yemi Alade and Mr Eazi, respectively. The album also houses eleven new songs, with guest appearances from Burna Boy, Sampa the Great, EARTHGANG’s Olú, and more. Here are a few takeaways from the album on the first few listens.
Less reimagining, more originals
Angelique Kidjo’s last two albums were cover projects—with a twist. In 2018, she reimagined Remain in Light, the classic album by British Rock band Talking Heads. Released in 1980 and produced by Brian Eno, a self-proclaimed Fela admirer, the album was partly inspired by Afrobeat and African rhythms, an influence Ms. Kidjo excavates and puts on full display on her cover album of the same title. The next year, she followed with the Grammy-winning Celia, a compilation of cover songs by legendary salsa singer Celia Cruz, also heightening the African influences that were a part of the Cuban trailblazer’s music.
On ‘Mother Nature’, however, Ms. Kidjo is almost entirely back to curating “new” music. The only pseudo-cover track on the album is “Africa, One of a Kind,” the pre-released single which heavily samples “Africa” by Salif Keita, and features Mr Eazi and the Malian legend himself. At that, Kel P’s production is masterful enough to stand out, even though the song doesn’t entirely escape the shadow of its source material. Generally speaking, the musical choices on the album are constantly stellar, piecing together an eclectic fabric with threads from Afropop, Folk, EDM, Hip-Hop, Afrobeat, and more. With about a dozen contributors behind the boards—a transatlantic cast that includes James Poyser, Rexxie, Kel P, Blue Lab Beats and more—‘Mother Nature’ benefits from Angelique Kidjo’s preference for collaboration.
A voice for the ages remains commanding as ever
There’s no mistaking the distinct timbre of Angelique Kidjo’s voice. With a long line of highly ubiquitous songs, including “Wombo Lombo,” “We We” and “Agolo,” the Beninese singer has one of the most recognisable voices in African music till date. It’s one of those voices that can equally squeal and bellow, and in the same breath send chills down your spine and shake the very foundation of a room. Her voice is still in premium shape on her latest offering, serving as a commanding force with a singular edge in both visceral appeal and clarity.
On the bracing title track, she sings over Kel P’s thrumming bassline with an encouraging emphasis that keeps the song’s messaging from being overbearing. For the most part, she leans into the refined power of her singing, and she’s able to perfectly project whatever emotion is required. On “Omon Oba,” arguably the best song on the album, she conveys pure, unadulterated joy in being of African heritage, which she believes is inherently royal. The Burna Boy-assisted “Do Yourself” is primarily led by the Nigerian singer, but it’s Ms. Kidjo’s blaring backup vocals that pushes the song into unforgettable territory—an example of how magnetic she is on an album with multiple visiting voices.
In conversation with a younger generation of Africans
Guest features were never a predominant part of Angelique Kidjo’s albums. While she’s always been highly collaborative on the musical side, Ms. Kidjo’s voice is almost always the exclusive vocal component, except in the rare cases that include Alicia Keys, John Legend, Diane Reeves, and a handful of others. She breaks the mold on ‘Mother Nature’, which features a whopping 11 vocal guests, comprising African artists and a few from the diaspora. Throughout the album, she merges quite strongly with her guests, all—except Salif Keita—of whom are from a younger generation.
In the album’s Apple Music liner notes, she’s quoted as saying: “You don’t invite somebody to have dinner with you to tell them, ‘You can’t do this. You can’t eat that now.’ You offer the food and they do what they want with it.” That ethos greatly benefits the collaborative efforts on ‘Mother Nature’, taking account of the featured artists’ strengths without dampening Ms. Kidjo’s essence. Inspired by last October’s End SARS protests, defiant lead single “Dignity” is a Yemi Alade duet that finds both singers snapping at societal injustices and proffering a solution with the popular adage, “Respect is reciprocal.” On “Omon Oba,” she’s joined by Beninese singers Zeynab and Lionel Loueke, who are in harmony with her elation.
The collaborations are as much about complementing, as they are about contrasting. Zimbabwean-American singer Shugundzo appear on two tracks, the acoustic intro song “Choose Love” and streaking EDM cut “Meant for Me,” her wispy voice adding subtle yet profound embellishments to Ms. Kidjo’s resounding singing. On the romance-themed “Take it or Leave it,” Olú, one-half of Dreamville’s Earthgang, adds an enthusiastic rap verse. Zambian-born Sampa the Great joins the proselytising of “Free & Equal,” putting in a typically stellar shift that exemplifies just how much of a generational conversation Mother Nature is.
Continued optimism for a pan-African Utopia
Even with her global acclaim, Angelique Kidjo’s commitment to Africa is unquestionable. In 1983, she was forced into political exile due to her stance against a brutal, Marxist-Leninist regime, a true marker of how long she’s been committed to social justice. Nearly four decades later, and there hasn’t been any drastic positive change. Instead of being embittered or coming across as jaded by the lack of change, Mother Nature indicates a renewed hope in Africa from Ms. Kidjo. Throughout the album, she sings like the only acceptable outcome is a continent that will be enabling to all of its inhabitants, rather than the select few that continue to gain at the expense of the few.
On the penultimate song, “One Africa (Independence Cha-Cha),” she invokes the memories of Thomas Sankara, Kwame Nkrumah, Patrice Lumumba and Nelson Mandela, all pan-African icons for their dedication to making their countries—and the entire continent—better places, until their deaths. As much as it’s a cry for help, the song is also a prayer for the emergence of similar-minded leaders for the current generation of youth and those coming after them. ‘Mother Nature’ is wilful in its belief, which makes the preachy passages come across as invigorating, and the admonishments on songs like “Choose Love” and “Mother Nature” feel like the warm advice of a caring aunt.
Listen to Mother Nature here.
@dennisadepeter is a staff writer at the NATIVE.
NATIVE EXCLUSIVE: DJ POIZON IVY ON HER TIME AS MUSIC COORDINATOR FOR THE 2021 BASKETBALL AFRICA LEAGUE
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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