Asake’s Reign in Afropop: One Year After “Sungba (Remix)”
Asake is blazing a trail in Afropop
Last month, Asake’s “Sungba (Remix)” with Burna Boy marked its one-year anniversary. The previous year was evidently a thrilling ride for the Nigerian artist, and that track was an important fixture in the series of successful events that elevated him from an underground hitmaker to a bonafide superstar. On “Sungba (Remix),” Burna Boy, who had laid a winning verse on the remix of Black Sherif’s “Second Sermon” the year before, added further gloss to an Asake song that was already tearing through music charts in and outside Nigeria. That Burna Boy cosign cemented Asake’s place in the list of new and exciting Afrobeats acts exporting Nigerian music and culture to the world.
The foundation for Asake’s successes was 2020’s “Mr Money,” a sleeper hit that began his fruitful relationship with Nigerian music producer Magicsticks. “Mr Money” had the Amapiano-infused instrumentals that would become a necessary feature in Magicsticks and Asake’s works. On the Olamide-assisted “Omo Ope,” they raised the stakes, elevating their connection and artistry. “I think ‘Mr Money’ was us trying to find our sound, and ‘Omo Ope’ was like, yes this is the sound,” Magicsticks said about that period.
It is worth mentioning the Olamide feature here. Around the world, newcomer artists have always depended on influential artists to acknowledge their sounds and back them with either a guest feature or public recognition. These acknowledgements do wonders for the careers of newer acts by opening doors for them where it seemed there was none. Olamide did this for Asake on “Omo Ope”; he went a step further to add the singer to his roster of artists on YBNL Nation. Immediately, Asake was in the spotlight and began catching the attention of the mainstream media.
“Omo Ope” was part of the songs on ‘Ololade Asake,’ Asake’s debut EP. The four-song project introduced Asake’s style of Yoruba Gospel, Fuji influences and Amapiano-aided Nigerian pop primarily honed by Magicsticks. “Trabaye,” “Omo Ope” and “Baba God” carried ample evidence of Asake’s engaging storytelling and gratitude to a higher being. But it was “Sungba” that proved the potential of his star power. Off of Magicsticks’ infectious production, Asake unleashed his repertoire of quotables and fully assumed his role as a hitmaker.
In his memorable verse on “Sungba (Remix),” Burna Boy, who was only months away from dominating the world with “Last Last,” merged his energy with Asake’s, finding pockets of melody that highlighted his position as one of Nigeria’s most versatile music makers. Both he and Asake didn’t outshine each other; instead, it was a flawless collaborative effort as both artists allowed each other space to wield their creativity and pump the blazing track with extra verve.
Within the context of the music industry, the importance of music videos cannot be overstated. While the production of these contents has evolved through the years, they are important pillars for any artist in the industry. Asake was aware of this and enlisted TG Omori, one of the best hands in the game, to curate the music video for “Sungba.” It was in the video that Asake and TG Omori began to piece together the details that would transform Asake from an everyday man to a leading man, starting from his physical appearance to his fashion choices. TG Omori reprised his role for the music video accompanying “Sungba (Remix),” chiselling the edges of Asake’s on-screen persona.
With every song and music video that followed “Sungba (Remix)”—“PALAZZO,” “Peace Be Unto You (PBUY),” and “Terminator”—the trio of Asake, Magicsticks and TG Omori kept on hitting new highs and reinventing the singer’s dynamism. When Asake’s debut album ‘Mr Money With The Vibe’ eventually arrived, audiences were primed and ready to experience the full dose of Asake’s magic. The project, in addition to housing “Sungba (Remix),” also featured incredible cuts such as “Organise,” “Dupe,” “Joha,” “Nzaza” and “Sunmomi.” Both music videos for “Joha” and “Organise” deepened the chemistry between Omori and Asake, marking their partnership (as well as that of Asake and Magicsticks) as one of the most dynamic in Nigerian music history.
The Asake of “Mr Money” no longer exists. In his place is a renowned performer who has toured the UK and the US and appeared on Jimmy Fallon’s late-night show. Musically, too, Asake has sought reinvention, most clear on “Yoga,” his first single of 2023. On the track, Asake dug his feet into other African cultural influences by sampling Mauritian singer Michel Legris’s “Mo Capitane,” and for the music video, TG Omori bought into Asake’s Pan-African inclinations by setting up shop in Senegal.
Asake is a star living in his glory and seeking to explore new forms of musical creativity. In just one year, he has steered his career in an upward trajectory, with the help of his label boss, a gifted producer and a sharp-eyed music director. His story is noteworthy for the crowd of support he has enjoyed, whether from fellow musicians or fans. “Sungba (Remix)” is one of the fitting examples of talent-meets-efforts-meets-support. Boom. Stardom.
Featured image credits/NATIVE
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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Vlisco’s “The Garden Of Sisterhood” Campaign Comes To Life in New “MAYANGA” Video
A celebration of creativity and cultural
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.
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