Best New Music: Ayra Starr Embodies Ultra-Confidence on “Sability”
A cumulation of poise and sabiness
True superstars have a unique insignia. It can be a slang, a symbol, a beloved alternate moniker, a look—just anything that instantly reminds you of them. With last year’s wildly successful single, “Rush,” Ayra Starr affirmed the generational lean of her superstardom, inherently helped along by a catchphrase that quickly became ubiquitous. “E dey rush” entered pop culture canon as another slang gifted to Nigerians by its pop music but, interestingly, it hasn’t gone on to be the singer’s insignia. That privilege has been earned by the first word sung on the same single: SABI.
What makes you a Sabi person? Of course, it’s the devil-may-care attitude that Ayra, an artist working her way through Nigerian pop superstardom with an assured and Gen Z-associated edge, has gone beyond simply evoking. These days, she effortlessly flaunts it, as evidenced by her latest sure-fire hit song, “Sability.” It’s a casual flex of self-assurance and the latest show of dominance from an artist who’s officially way beyond putting the game on notice. The was Ayra Starr embodies it, the manual to being a person with the Sability oomph is being gleefully ultra-confident and letting charisma embolden your person and talent. Two years since her eponymous debut EP introduced her to Afropop, the intriguing teen singer is now a growing powerhouse.
Ayra’s position as Gen Z’s amplifier has grown more distinct with each release. A constant has always been her emphasis on self-love and confidence, as exemplified in the romantic tongue-lashing of her first single, “Away.” If that was a bit subversive, she’s gotten a lot more explicit about her personal choices and purpose, revelling in them as she gets alternately admired and judged in a social media-driven era. On “Sability,” over London’s club-ready production, Ayra Starr could care even less about any external displeasures, as she celebrates her power as a Sabi Person—more specifically, her ability to “make you jo dada” (make you dance really hard). It accentuates the fact that she knows that she knows her long, long reign as a superstar is just getting started and she’s making an anthem for everyone who agrees with her and believes they are as cool and assured as she is.
Demonstrating her witty songwriting skills, the 20-year-old chanteuse delves deeper into her daredevil artistry, crafting a dance floor-ready bop In the song, climaxing with an immediately memorable hook that samples Awilo Logomba’s 1998 classic, “Coupé Bibamba,” as she creatively swaps out his name with hers, showing her poise and casting her impending queenship. Ayra Starr demonstrates that she is on the road to success and is willing to continue regardless of what other people think of her as she delivers a beautifully executed single which fuses high-tempo Afrobeats and Makossa elements. “Sability” is evidence of Ayra Starr’s artistic ability as every word, every beat, and every piece of production are perfectly incorporated to create a catchy yet emotional track painting a vivid picture with each verse unmatched. The song is intriguing, powerful, and melodic. The song captures every feeling she experiences as she works for her goals and desires.
With every release, it is evident Ayra is blooming into an even more daring artist. While “Bloody Samaritan”warned off her haters and “Rush” reflected her deeper thoughts about her fast-found fame, “Sability” is an ode to believe more in yourself. Prioritising rhyme sequence and a banging beat over lyricism and purpose “Sability” fuel for the dance floor while still making it relatable. She blatantly admits that being in a place with such bad energy helped her realize her life’s purpose much more clearly. As a result, she is free to live without worrying about what other people think of her sense of fashion or even her sexual orientation. “Sability” by Ayra Starr is a potent reminder that we should have faith in our abilities, triumphs, and potential.
Listen to “Sability” here.
NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
Listen to the Rigo Kamp EP:
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Best New Music: Blinky Bill mines inspiration from the old on the rap banger, “Boss”
A standout off his new album, 'We Cut Keys
Blinky Bill is a savant of the avant. Since the late 2000s, the Kenyan artist and producer has gained a rep for being authentic, creating with very little reverence for norms or trends. As a foundational tone-setter for the eventual arrival of Nu Nairobi, a loose community of artists who champion expression that’s alternate to the mainstream, Blinky’s bonafides are sealed, especially buoyed by a formidable solo catalogue since the much beloved, seminal group, Just A Band, dispersed—and reassembled in 2022.
In late January, Blinky Bill released ‘We Cut Keys 2’, his first project release in over five years and the sequel to his debut project, ‘We Cut Keys While You Wait’. The new album is a semi-sprawling 16-song set where Blinky jams in a truckload of viscerally exciting music ideas, roaming across jazzy keys, pounding electronic bass, funky guitar riffs, and traditionally-inspired rhythms. As with all of his albums, there are lyrical moments driven by profundity, fitting for an artist who’s adept at exploring personal concern with an accessible, everyman’s rapper finesse.
At that, what really elevates ‘We Cut Keys 2’ is that it feels like the most fun album Blinky Bill has made till date. As exciting as the genre-blurring swings on his previous two projects were, there’s a lot more assuredness to the music here, even when his inspiration ventures further than anything he’s done before. Lodged in the lower middle part of the album is “Boss,” a rollicking banger that repurposes the rustic groove of traditional Luo music. The result is a swaggering rap banger with a distinctly Kenyan and East African core.
The first thing that meets listeners’ ears on “Boss” are thick low end drums, all pounding bass and no snare, accented by handclaps and what sounds like a glinting triangle sample. It doesn’t take long for the song to get fuller, with the addition of local drums and a central Benga guitar riff. It’s a musical carnival, where the old informs the new, where the urban is rooted in the pure charm of heritage. Even though the ethos is very familiar in current Afropop, it’s nothing like I’ve ever heard, and that will probably be the same for many listeners.
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Blinky Bill doesn’t complicate things with his raps, “Boss” is a celebration of self and declaration of reverence of the culture and music that came before him. “They need to know I’m a champion,” Blinky coolly asserts in a sing-rap cadence, segueing into a hook that repeats the song’s title with an infectious stomp. As for reverence, it’s in the performance as much as it is in the music. Amongst one of the more thoughtful guests, early 2000s Kenyan rap icon Maji Maji, of the seminal duo GidiGidi MajiMaji, delivers an energetic verse, with his grizzled chants floating over a section of the arrangement stripped of the pounding.
Rounding out the song are the yelped adlibs by another Kenyan music legend Melkizedo, making the union of old and new feel even fuller. On an album with over a dozen guests, including American rapper Goldlink and British-Ghanaian artist Fuse ODG, Blinky Bill hits a novel, incredibly rewarding note with “Boss.”
ICYMI: “SHRAP OVER THE REST”: THE RISE OF A KENYAN GENRE FOR THE YOUTH, BY THE YOUTH
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Best New Music: Lojay and Olamide are a captivating pairing on new single, “Arizona”
a masterstroke in
Since his dazzling breakthrough with revered Nigerian DJ-producer, Sarz, on their collaborative EP, ‘LV N ATTN,’ Lojay has rightfully earned the ears of many listeners by carving out his own space in Afropop complete with a charismatic personality, emotion-laden songwriting and back to back hits. The 5-track offering evidently primed him for greatness and has sustained the artist since then as he proves he’s worth more than his salt.
Earlier this year, the singer served up his sophomore effort, ‘GANGSTER ROMANTIC’ which more than proves his solo capabilities as a performer. What makes ‘GANGSTER ROMANTIC’ an easy listen is the faultless sequencing that accentuates Lojay’s emotions throughout the project, from playboy to loverboy, and from self-assured to hesitant. Although his career is still nascent, Lojay has worked with some of the best hands in the music business and, with his ability to make great music, the signs portend good tidings for his future.
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On the other side of the coin, Nigerian rap legend, Olamide continues to leave an indelible mark on Nigeria’s music history with a series of timeless hits and the mentorship of prized signees via his record label, YBNL. The release of his latest and according to him, last album, ‘Unruly,’ crystallised Olamide’s status as the leading street-pop artist of our generation, eclipsing all leftover doubt.
And if it is truly the last we hear of Olamide in album mode, as he chooses to focus on expanding and reaping the benefits of the powerhouse that is YBNL, he is well within his rights. A few weeks ago, his star signee, Asake pushed the boundaries of his success a step further after snagging a Grammy nomination for “Amapiano” under the Best African Music Performance category. As Olamide joins Lojay for an intoxicating delivery on “Arizona,” it is evident that he is currently on flight mode, breezing through with potential hits like the superstar he is.
From the opening seconds of “Arizona,” it is clear that we’re in for a good time. The track opens with signature log drum-shakers combination that portends the song’s irresistible and dance-ready quality. With this solid sonic foundation, Lojay and his guest star, Baddo lay down poignant and intimate verses that find them in loverboy anguish. Lojay’s lush chords alongside Olamide’s sonorous bars come into the picture, making for an instant recipe for success.
The track leads in with a heart-thumping mid-tempo beat, credited to P.Prime, only to be accompanied shortly after by echoey chords fading in and out of the track. Lojay’s croons take over as he sings, “What’s your lucky number baby, give me update,” immediately alerting us that we have another love-themed track on our hands. He takes on the narrative approach to detail an interaction with his love interest, where he beckons her to commit and follow him to various parts of the world.
Olamide slips in immediately after, raining praises on her physical appearance while explaining how crazy she makes him feel, “Nobody got this type of ukwu, omo buruku/You make a nigga coocoo.” As opposed to clearly expressing in words in a similar way to Lojay, he takes the onomatopoeic approach, creating melodies by repeating similar sounding words. It wouldn’t be Olamide without a comedic and memorable one-liner. So when he wraps up his verse saying “Agege bread no dey get label” it reiterates his witty penmanship many listeners have grown to love. His razor sharp flow, matched with the track’s smooth progressions and ‘Piano log drums in the background allow for his verse to carry tension of its own, forging “Arizona” as one of the catchiest feel-good numbers in recent months.
With a pairing as promising as this, coupled with the synergy the pair were able to display, it is safe to conclude that Lojay has added another string to his ever-growing catalogue. His efforts are a clear indication of his desire for growth and global visibility, achieved by his consistency all bound together by his admirably raw approach to relaying his lived experiences.
Listen to “Arizona” here.
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ICYMI- REVIEW: LOJAY’S GANGSTER ROMANTIC
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