Best New Music Special: Tochi Bedford’s “Benjis” and SGaWD’s “Rude”
double heat
In an interview with YNaija back in April, Tochi Bedford made a heartening remark: “Honestly, I think the rap scene in Nigeria is at the healthiest it’s been in a while.” There’s something of an unspoken caveat added to that statement – “at least, amongst the people I’ve worked with so far” – that is meant to emphasise his personal viewpoint, but broadly reflect the creatively fertile and increasingly diversified terrain unearthed when you fully survey rap music in Nigeria.
Last week is an easy example of this: On Wednesday, rap superstar Ladipoe dropped his latest EP, ‘Providence’; a day later, rising hybrid rap artist and Fresh Meat alum SGaWD delivered her debut EP, ‘Savage Bitch Juice’. Merely a day later, indigenous rap firebrand Zlatan released his sophomore LP, ‘Resan’, and Tochi Bedford himself put out his second project, ‘After Eternity’. Moments like this don’t come around often, but when they do, they’re typically emblematic of the creatively fertile soundscape in Nigeria’s Hip-Hop/Rap scene.
All of these projects may not fully capture the scope of the rap music being made in the mainstream and in the underground, but they’re stylistically varied to highlight the vibrant playing field in Nigerian rap, even if most (online) conversations tend to equate the scene’s health to that of its more traditional side.
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(@tochibedford)For this week’s Best New Music selections, we’ve picked a standout song each from the new projects by Tochi Bedford and SGaWD, because they were both too good to pass up and, coincidentally, both tapes are on the same tonal spectrum of experimental and exuberant Trap music. Dig in.
Tochi Bedford – “Benjis” (feat. Odunsi [The Engine])
In comparison to his new project ‘After Eternity’, last summer’s ‘Eternal Mob’ sounds pretty conventional. While the main elements – delightfully haunting melodies, speaker-rattling bass and hyper-specific lyricism – are identifiable threads across both tapes, there are subtle but profound differences in what Tochi Bedford wants to achieve with his newest drop. Where the musical edginess of his debut was underpinned by an invariable confident and aspirational person, ‘After Eternity’ is thematically brasher and the music is slightly more melodically complex.
The intro song, “Benjis,” sets a heady tone for ‘After Eternity’, epitomising the cumulative traces of growth in Tochi’s powers as both a producer and writer. Co-produced with Sverre Timmermans (Svt), the song’s beat is as hazy as it is maximalist, a melange of about several psychedelic melodic motifs, undergirded by rapidly ticking hi-hats, constantly matching snares and blown-out 808 bass. Referencing the hundred dollar bill, as a gateway to expressing a lavish lifestyle, their lyrics on “Benjis” sound less excited and more factual, and the arrogance is especially leaking from Tochi’s solitary verse sandwiched between Odunsi’s instantly memorable hook.
That’s another hallmark of ‘After Eternity’: Tochi Bedford is more irreverent than he ever was on his debut tape. “When I leave it’s a scene/This all started with a dream/Why you wanna cause a scene/Why you wanna fight,” he raps both enthusiastically and dismissively, the lines piling up into an emphatic show of self-assurance. It’s a far cry from, say, the vexed energy of ‘Eternal Mob’ opener, “Bros,” where he reckons with fake friends. By the time “Benjis” hits a key change on one of its melodic riffs, and the beat switches to something slightly more solemn, Tochi’s overconfidence in himself is well beyond believable. He’s everything he says he is, and we are witness to this.
SGaWD – “Rude”
There are a few reasons SGaWD is one of the prominent voices in the growing tide of Nigerian women rappers forcing their way into being acknowledged in Nigerian rap. Perhaps, the most important one is that she’s a walking double-edged sword. Across her brief but clearly tenable catalogue, she’s proven equally adept at running through bars and stacking harmonies, a dually-tuned switch ready to flip between scathing bars and romantic lyrics. On her debut tape, ‘Savage Bitch Juice’, however, it’s her rap side that gets a lot of the shine, and for good reason.
‘SBJ’ is a project of self-declaration, with SGaWD rapping her way to prove just how imperial she believes she is. For sure, there’s a lot of brawn, but what makes the project downright enjoyable is the blasé authority palpable in her smooth flow. From a songwriting standpoint, “Rude” might be the project’s centrepiece, a song that rolls varying dimensions of shit-talking into a catchy banger. Produced by Brum3h and Mayhem Oshunda, the bounce on “Rude” recalls Odunsi’s “Wicked, Sexy,” but its sunny piano riff and percussive embellishments create a colourful fusion between Trap and Bashment.
Matching the candour of the production, SGaWD sinks into a semi-feathery cadence, perfect for her lyrical mix of contempt and sensuousness. Written with intentions of vividness, the first verse is framed as a romantic shot-shooting exercise, with SGawD clearly annoyed that her target is playing coy. By the second, it’s obvious her sex appeal has done the job, and she dedicates some of that 16 to rapping literal quips about its hypnotic power. Everything about “Rude” is effortlessly inviting, and it’s wonderfully boiled down to its hook, a repetitive part that will instantly stay in your head as soon as you hear it. For over a year, the newcomer has been edging towards her moment and it seems, with ‘SBJ’, that moment is within reach than ever before.
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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.”
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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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