NATIVE Exclusive: Balloranking Is All About Preaching the Ghetto Gospel
The Street Hop savant continues to reach deeper into his storytelling
Growing up in the Lagos mainland, Balloranking was always familiar with stories. His family lived within the bubbling intersection between Ajegunle and Surulere, and the realities were heavy but instructive, and went into his professional music. Balloranking listened to the likes of Fela Kuti and Burna Boy, “but that was before I found my own voice,” the artist who just released his debut album ‘Ghetto Gospel’, told The NATIVE one recent weekday. “I started with the street freestyles”.
One can surmise that in the period it took the man born Balogun Olamilekan from being a music lover to being an artist himself, he went deeper into the wells of his own inspiration. That means being a youngster raised in the streets, seeing the things he’s seen, and trying to make sense of it. He wasn’t the only artist with those motivations, especially those who lived in Lagos hoods which echoed similar realities. The likes of Bella Shmurda and T.I Blaze were some of the street poets whose vision aligned with Balloranking’s, and like many artists of the present generation, he turned to social media as a promotional tool.
There he garnered the appreciation of an excited fan base. This was just before the pandemic and through it all, Balloranking released singles which revealed his energised, wizened grasp on Street Pop. A spate of singles in 2020 which included the aspirational gems “Never Die Poor” and “Never Stop Trying” first came out. Then came “Time No Dey,” a poignant collaboration with Seyi Vibez. If the soundscape of Street Hop was intrinsically hinged on close-by narratives, then Balloranking was focused on the least-told of those stories, especially how religious beliefs play a formative role in the shaping of one’s trajectory.
“I’ve always wanted to create good music,” he tells me now. “Although there are a lot of different genres here, I just want to like, have my own sound, which I already do. I’m very grateful; any song I drop, my people already know this is my sound, my voice”.
But there were challenges at the start. Prior to when his career started to take off, his parents doubted the feasibility of creating music full time. Like many Nigerian artists have revealed over the years, the familial insistence on a white-collar job was a considerable weight on their dreamy flights, but through persistence the likes of Balloranking were able to stick their neck out for what they love. He relates this story now with a triumphant smile on his face, as his white designer clothes glistens on my laptop monitor.
The telling moment for Balloranking came two years ago, when the breakout song “Based on Believe” preceded the release of his debut project, ‘Zero Panic’. An audacious body of work, its assurance was evident from its first song “Supernova”. Over the mellow production, he sings, “Might not be popping yet, but I know that I’m a rockstar/ Believe in my confidence, I know Lord is my shepherd”. It’s a life-affirming statement which, more or less, is the ethos of Balloranking’s music. “Dayemo” and “Gangster,” which features the late Dablixx Oshaa, further showcase the enjoyable minimalism of Balloranking’s sound; with poignant, almost muted percussions, the music allows his striking vocals to come through unencumbered, relaying distinct stories from far-off memories and recent experiences.
As the years went on, so did Balloranking’s sound evolve. His deal with Dvpper Music was increasingly proving effective, as it opened Balloranking to wider audience streams, and through the music those markets became home. You’d hear the glossy lining behind “Feeling You”, an affectionate love record where the artist stretches his vocals into fresh sonic plains. With the feature of Bad Boy Timz, the NATIVE uNder alum stood by his ambitions to soundtrack the contemporary experience. No where would have been more evident than on ‘Trench Kid’, the sophomore project which arrived in May 2022.
It’s a direct precursor to ‘Ghetto Gospel’, particularly in terms of its lyrical vision. A successful attempt to turn localised events into details of myth creation, its titular record picks akara over samosa and speaks about rocking okrika when “raba no dey to buy original”. It’s a stark reminder of where Balloranking is coming from; on the remix of “Elevate,” that grass-to-grace narrative is again reiterated, this time with one of the most introspective offerings from Bella Shmurda. But it’s Balloranking who takes the song past the finish line, his awareness for the unassuming metaphor yet palpable. He combines the duo of Majeeed and S1mba on the sweet breeze of “Fine Girl,” while the seven track EP ends with the Lyta-featured “Omo Ogbon”, a reiteration of the musicians’ wisdom as gleaned from the streets.
“As a musician, I want to talk about life experiences,” he says about the overriding ethos in his songs. “I want to talk about others that I know about, my friends or my family. I really want to talk deeply about reality; I just don’t believe in going to the studio and saying all sorts of things that’s not meaningful. I calm down, I write my lyrics, and make it perfect. I don’t believe in telling false stories.”
Take me out of street, you can’t take street out of me
pic.twitter.com/qVIDQAIeKi
— Badboyranking (@Ballorankiing) July 8, 2023
That dedication to relaying intrinsically valuable stories poured into the making of ‘Ghetto Gospel’. Coming from a religious family, although both Balloranking’s parents were Muslims, his dad would often listen to Christian messages and loved to buy its scriptural CDs. “It gave me more view and perspectives about singing the reality I am singing,” says Balloranking, “It says more about me. There are a lot of albums, and people name their albums the way they want, but I feel I should be in this religious way because my music is not all about lifestyle and enjoying. And I really want to put people on the right path; I don’t wanna lead people astray”.
The album was put together this year, but on there, you’ll find songs that were created as far back as 2021, thus establishing the idea of a sprawling, sonically progressive body of work. “It’s just like bringing the old vibe and the new vibe together,” he affirms. On the sombre, sparse “XXL,” he features Oshaa, who was a beacon of street-influenced Trap until his unfortunate passing in November last year. Bella Shmurda features on “Healer,” a similarly evocative record whose late-night appeal is evident from the tone of its drums, and the reserved vocalism of both artists. Interpolating his flow on “New Born Fela”, the feature is one of the many which strategically improves their associative songs.
Yet while the album undoubtedly pleasures in the revelry of new and better stories, Balloranking isn’t divorced from the realities of many coming from where he’s from. “Bode Thomas” is one of the most profound album openers you’ll hear this year. Its soundscape resides in the atmospheric church zone, spurring the therapeutic gaze Balloranking adopts throughout its two-minutes runtime. Carrying the heft of an autobiographical performance, it begins with the poetic admission: “In my head, I’ve been trying to put things together…”
‘Ghetto Gospel’ witnesses the range of Balloranking, especially the structural strength of his songs. Its sprawling vision already places great expectations on the artist, but he’s mastered his presentation, some seven years after he began exploring his sound. Other standouts on the project include the amapiano-flirting “Aye,” the Dancehall-coloured “Dinah,” and the breezy “Backwoods,” but seriously, there’s gems littered over the soil of this fifteen track album. Like he reiterates throughout our conversation, Balloranking’s grasp on narrative conventions purposefully informs his music, making this one of the most assured debut albums to have emerged from the Street Hop tradition.
He’s instantly reflective when I pose the question about the merits of this album, and his music, being a stretch of collective moments reaching for the sun. “Whenever you listen to Balloranking, I just want you to have belief in yourself,” he says now, touching his chest. “Whatever you have in mind, just keep doing it”. By way of final comments, Balloranking imagines a blooming effervescence in his musical journey. “More is still coming,” he affirms. “As long as I’m still growing, exploring more, I think you can’t get enough of Balloranking.”
ICYMI: CHECK OUT BALLORANKING ON THE AUGUST 2022 EDITION OF NATIVE’S UNDER
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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