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
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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