Best New Music: Falz & Tekno’s New Single “O Wa” Offers A Timely Message About Radical Action
a clarion call for Nigeria's youngest generation
Throughout his career, Falz has never shied away from pairing his musical talents with his political leanings. The lawyer-turned-artist has managed to find a sweet spot between entertaining listeners and provoking thoughts about the dysfunctions in the Nigerian social and political structures. On “Senator” off his 2014 debut album ‘Wazup Guy,’ he mocked the selfishness of the country’s ruling class as he rapped in his popular comic drawl, “Take the people property/You no dey do things properly/Calculate you no show working/You say na summary.” Falz, in an interview with Audiomack World, revealed that political activism has always been an integral part of his personality. “I grew up with both my parents as activists,” he said “I was born into that sort of family, that sort of background, so, inevitably I was always gonna have that aspect of me.”
Three days before the 2023 presidential election, which was held on February 25, Falz teamed up with fellow Nigerian artist Tekno on “O Wa,” his single of the year. The Chillz-produced track calls on Nigerian citizens to not be afraid to step away from and cast out any government that doesn’t respect their rights to better and inclusive policies. “All the tax wey we generate/Why the cash no dey circulate?/And when we start to calculate/Everybody come dey agitate,” Falz sings. While the Nigerian economy ranks as one of the richest in Africa—courtesy of the late 60s boom in the petroleum industry—a majority of the country’s citizens still grapple with poverty, with the 2022 Multidimensional Poverty Index survey confirming that 63 per cent of persons in Nigeria (133 million people) are multidimensionally poor.
In 2018, Falz’s commentaries on society and politics shrugged off the comic edge and adopted a sharper, pointed tone. In May of that year, American artist Childish Gambino shook the collective consciousness of the world with “This Is America,” whose lyrics and accompanying music video addressed issues of racism, police brutality and gun violence in the United States. Gambino’s “This Is America” inspired many artists from around the world and spawned global remixes from France, India, Ghana, South Africa, Afghanistan and Iraq, among others. Falz was one of the artists who drew inspiration from that track. His version of the song, as expected, fixed the searchlights on the problems bedevilling Nigerian society, from political corruption to insecurity to fraud. The music video drew the ire of the Muslim Rights Concern (MURIC) who ordered Falz to take down the video because it showed women wearing the hijab and dancing Shaku Shaku, a popular street dance.
The massive support Falz received for “This Is Nigeria” egged him on into bolder territory. On his 2019 fourth studio album ‘Moral Instruction,’ over Fela Kuti samples, he gave a scathing critique of the Nigerian political and religious classes as well as the citizenry. On “Johnny,” he railed against police brutality; on “Talk,” he criticised corrupt politicians (even sparing a moment for MURIC); on “Amen,” he condemned the antics of unscrupulous clerics; and on the Chillz-assisted “Paper” and the Demmie Vee-featuring “Hypocrite,” he lambasted the broken compass of the Nigerian people as well the folly of homophobia. While Falz’s songs have got their fair share of criticism bordering accusations of misogyny and feminist-bashing, ‘Moral Instruction’ was a notable project as it marked the growth of a (flawed) artist taking up the onus to speak against power.
The bedrock for Chillz’s production on “O Wa” is the Fela Kuti-birthed Afrobeat, drawing on signature elements such as sparkles with horns, trumpets and saxophones. Kuti’s music is an essential part of the relationship between music and politics in Nigeria, with his tunes soundtracking a generation of political and societal injustices, while also inspiring thousands of artists in Nigeria and around the world. On “O Wa,” Chillz, in a subtle mix, adds those predominant Afrobeat elements to the log drums of the rave-of-the-moment Amapiano. Chillz’s production gives “O Wa” a danceable quality but it doesn’t steal the shine of the song’s poignant message.
“Because/It’s a critical reaction/My country no get formation,” Tekno sings on “O Wa,” blending bits of lyricism with his trademark melody-driven style. “O Wa” isn’t Tekno’s first attempt at political commentary; between 2015 and 2017, when he dominated the airwaves with hit singles “Duro,” “Wash,” “Pana,” “Diana” and “Yawa,” Tekno released “Rara,” an Afrobeat-inspired record that mourned the infrastructural and democratic states of Nigeria. A few days ago, he released “Freetown,” decrying issues such as child beggars, fuel scarcity and unemployment. On “O Wa,” he and Falz transform their angst into a sweet-sounding tune.
But the message in “O Wa” is anything but sweet. Falz and Tekno are mostly concerned with inspiring listeners to rise and, with their voter’s card, reclaim their power from corrupt political leaders. “Why you no give me change (Change) I para/I curse the driver, I tell conductor say “waka”/Stop the motor I need to come down, I tire,” Falz sings. In the Nigerian context, o wa—a Yoruba saying—is spoken by passengers in public transport when they are about to alight at their destination. In the accompanying music video, co-directed by OyeTwoPointO and Falz, the country is a chaotic space, with Falz and Tekno acting as galvanising forces to lead the people to grab change, even with force.
“O Wa” possesses a timely message as it urges citizens to use their votes at the polls to create the kind of Nigeria that they want to live in. Although the presidential election was held over the weekend, it doesn’t mean that the fight for proper governance is over, no thanks to the reports of election rigging and violence. With votes currently being counted across the country, and the gubernatorial elections two weeks away, the message in “O Wa”— “Do not be swayed by lies and kick out poorly performing government”—still rings true.
Stream “O Wa” below.
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ICYMI: The many layers between music and politics in Nigeria
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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