Best New Music: Black Sherif continues to refine his uniqueness on “Kwaku The Traveller”
a boisterous new single
Mohammed Ismail Sherif—who goes by the moniker Black Sherif and is fondly called Blacko by fans— doubles down on his groundbreaking successes of last year with his glistening new single, “Kwaku The Traveller.” On his latest offering, he puts forward the most refined version of himself we’ve seen since his breakout, displaying shrewd pristine, storytelling abilities as he shuffles between delivering impassioned raps and belting shrill, melodious lyrics, over a stirring Drill beat.
The budding iconoclast burst into the limelight after releasing his celebrated hit single “Second Sermon,” which quickly became a landmark moment for Ghanaian Drill. Not long after, Nigerian superstar Burna Boy caught wind of the burgeoning tune and hopped on it, spawning an energised remix that furthered his popularity, from small clubs planted in the suburbs of Accra, to pummelling house parties across universities across Nigeria, to even the NBA All-Star Game in Cleveland. The lanky 20-year-old kid from Accra was taking over cities across the world with his enrapturing drill anthem.
Blacko’s sound is typically described as Drill, but on a closer listen, it can easily be inferred that it is heavily tinged with the exotic melodies of Highlife, layered with astute lyricism delivered in the charismatic cadence of modern Afropop. Drill rappers usually lead from behind, allowing the menacingly thumping beat to take the centre-stage, while they punctuate the beat with clipped swanky verses. Black Sherif, however, walks in lockstep with the beat, his message and his story are as important, if not more important than the beat.
In the “Second Sermon,” he paints an elaborate picture of his life in the streets, over a thumping guitar-inflected production. Rapping in Akan, he tells a piquant tale of how he and a couple of his gangster mates complete a shady transaction and make a lot of money. They, however, get swindled by the leader of the gang, which prods them to launch an offensive with “12 killer boys” to retrieve their share of the loot. He punctuates this thrilling narrative by mulling out loud, glum about how his Aunt Merrie doesn’t know about his newfound shady life in the streets of Accra, “Aunty Merrie nnim s this be the life I dey live for here”. Even though most listeners outside the shores of Ghana have little idea of what Black Sherif is rapping about in Akan, the high-octane beat layered with his impassioned raps and anthemic chants makes for an irresistible siren song.
On “Kwaku The Traveller,” Black Sherif continues on this arc of delivering irresistible anthems. Here, however, he swaps the vibrant uptempo production of “Second Sermon” for a sombre instrumental that aids his reflective lyricism. He displays dazzlingly genius songwriting, dialling up the brilliance he displayed on his preceding offering—using a suave blend of English and Ghanaian Pidgin, sprinkled with bits and pieces of Akan, briefly departing from his previous style which saw him leaning full-tilt towards Akan as his primary medium of delivery. The narrative on the record segues unobtrusively from the story on “Second Sermon”. Black Sherif is still far from home, still on his money-making quest but this time, he’s forlorn and stricken with a gnawing yearning for the succour of home. Over the bouncy hook, he sings, “This is Kweku, the Hustler. He’s been far away chasing gwallala. I’ll be back again bro, …, I swear on everything, I swear on my life. I can’t wait to be back…”
What makes Black Sherif a reliable narrative anchor, and helps this song to be so evocative, is his fallibility. On the first verse he raps about making mistakes, sounding heavy under the weight of his guilt. Interestingly, still in the verse, he does a smooth 180 and absolves himself of the guilt, blaming it on youthful exuberance and declaring his desire to keep it moving. “But I can’t blame myself for this shit…who never fuck hands in the air, no hands?” he raps vivaciously. Further communicating the weight of Blacko’s self-reflection is the song’s dark and cloistered environment—furnished with eerie sustained keys, minor chords and a menacing drum pattern—the production functions to transpose his message.
On this new song, the growth of Black Sherif as an ideal poster-boy for the captivating and authentic edge of Ghanaian Drill is palpable. His songwriting is elegant, his stories are more shrewd and collected, his voice is more malleable, shapeshifting amorphously to express an expansive gamut of emotions, his sonics are more mature and refined and his hectoring personality is more conspicuous as he makes no attempt to flatten his idiosyncrasies. There’s something almost obscene about watching an artist so young display this level of brilliance. “Kwaku The Traveller”‘ is a stupendously brilliant follow-up to his breakout song, and Black Sherrif looks very much like he’s carving his own path to becoming an icon.
Listen to “Kwaku The Traveller” here.
Featured image credits/FifiAbban
SOUNDS FROM THIS SIDE: ASAKAA DRILL
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.”
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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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Best New Music: Brazy furthers her dance and rap fusions with the self-assured and sexy “OMG”
Regardless of whatever she’s rapping over, Brazy’s sureness is her
Not too many young artists have a firm grasp of their identities in their formative years, much less the possibilities of what they can do with their skill-set. It often takes months of practice and refinement for latent gifts to become tangible potential and budding stardom. Within that period of needed growth, precociousness plays an evident role in how quickly things get fully rounded. Nigerian-born, UK-based rap artist Brazy has been evolving in plain sight, and there’s an obvious perception of her abilities, in relation to the kind of music she can make.
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In two-plus years of releasing music, Brazy’s catalogue is littered with singles that cater to her curiosities. On official debut single “Siren,” she tag teams with frequent collaborator L0la, her airy cadence creeping alongside the eerie flute synth creaking under the weight of heavy bass. “Gingerbread,” one of her more distinct songs, features a melodic rap performance reminiscent of Sugarbella-era Rico Nasty, while “Selecta” couples freewheeling quips over UK Funky-influenced production. Throwing paint to see what sticks? Maybe. Lack of imagination? Never. Ear-holding execution regardless of what direction? Definitely!
Nearly a year after releasing “Attends,” the mildly viral hit song that’s helped make Brazy a budding cult star, she’s turned in a new single that furthers her electrifying fusion of dance and rap. At first glance, it’s easy to parse “OMG” as an attempt to replicate the success of its predecessor, possibly on a bigger scale. It’s not a terrible ambition to have. In the same breadth, it’s also easy to admit that the song isn’t hackneyed or a barefaced repetition of what worked before.
Breakout artists often face the pressure of repeating the same tricks in order to sustain their level of success or ascend further into ubiquity. If there’s pressure, it rolls off Brazy; she seems so Teflon. Part of that stems from how organic making music has always been to her. In an interview with The NATIVE earlier this year, she explained that becoming an artist was a spontaneous endeavour, and it’s highlighted in her carefree raps and equally blithe flows. Also, as a music listener with an expansive taste, her production choices are a reflection of her boundless, globalised vision.
“Attends” was inspired by Cruise music from the trenches of Lagos, Buoyon rap with its Kreyol roots and deep French affiliations, as well as Reggaeton and Dancehall. “OMG” leans into an existing template for Brazy, sounding as fun and assured as ever. Obviously, it’s catchy, too. Helmed by Parked Up, plinking piano notes glimmer alongside wall-rattling bass, with a psychedelic hue adding to the song’s ear candy appeal. Aptly relying on her insouciant swagger, Brazy’s rap-talking cadence gives every line a lilt that makes them immediately memorable. There’s zero friction as she switches between English and Yoruba, even if—or especially because—the repeated chants of “Farable” and “Kilonsele” are delivered with that very British intonation.
At the core of her music, alongside the exuberance, there’s a strong sense of self-belief from Brazy that she’s in control of her surroundings and any situation she’s in—especially where it concerns attraction. “Just because I’m looking hot/Doesn’t mean you should fear,” she raps with a sly grin on her face. It’s on the same instantly memorable level as “Cheat on me, I’ll cheat on you” from “Attends.” It’s also proof that Brazy has embraced fully buying into her own hubris.
Rather than her ego suffocating room, the levity with which she wields her confidence is refreshing, obviously with a sexy edge—all heat, no steam—and the music, to put it simply, slaps. Regardless of whatever she’s rapping over, Brazy’s sureness is her identity. She just happens to know how to make dancefloor heaters, too. “OMG” is further proof.
Watch the video for “OMG” here.
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