Best New Music: With “No Stress”, Wizkid shows his maturity
It is refreshing to hear a male artist advocating for sexual equality as well as emotional maturity
Wizkid has been teasing his forthcoming album ‘Made In Lagos’ for over three years now. During summer’s peak, ‘Made In Lagos‘ anticipation left fans in a gulf of uncertainty, as debate as to whether we’ll ever hear the album ever grew more and more valid. Matters weren’t made any better when the previously announced “July 16” release date, turned out to be the H.E.R-assisted “Smile”, instead of the full-length album touted to feature Burna Boy, Tems, Tay Iwar, Skepta, Ella Mai, Damien Marley and more.
With the release of his latest single, however, the original Starboy has assured us that the false starts are through. Along with “No Stress” came the album’s bright and hyperactive cover art and a pre-release appearance on streamers, indicating that, on October 15, we will finally hear the sounds that Wizkid ‘Made In Lagos‘ and beyond.
Made in Lagos / 15th October
pic.twitter.com/SqCaMlO7Cg
— Wizkid (@wizkidayo) September 20, 2020
Track number eight on the forthcoming project – two songs down from the #MIL lead single, “Smile” – “No Stress” begins with four counts of the same breezy arpeggio, a surprisingly simple, soothing introduction to Wizkid’s equally as calming familiar vocals that confess his casual relationship status involving no stress.
The familiarity in Wizkid’s opening line doesn’t come from his delectable signature-sounding singing chops alone. The melody of his introduction, which turns out to be the heart of the track – it’s chorus – is reminiscent of Wizkid’s 2018 hit-collab with fellow Eagle, Skepta (who ironically released a song of the same title on Friday too, though his interpretation of “No Stress” sounds a little more gritty than Wiz’s sensual one). Reigniting the intonations he delivered on his “Energy (Stay Far Away)” chorus, “she tell me bad man, say I need your love,” Wizkid hones in on the parallel these two songs shares in their sentiments, affording the conclusion that he wants “bad energy [to] stay far away” because both this bad man and his “pretty pretty lady” don’t like stress. This is the bond that both Wizkid and his girl for the three-plus minutes of the record share, the fact they “no like no stress“.
Generous with his verses, Wizkid delivers an atypical (for these times) three verses over the track. Interpolating Amerie’s “1 Thing” on his third and final verse – where he shouts out black women from the Motherland, the Caribbean, and even South London – Wizkid’s second verse gets into a sung flow, as he repeats that he is the only one for his muse, a tone he set right from the top of the song where he sings favourably as about his independent woman whose “got her own but she needs some love.“
Crude in his lyrics, delivering his own version of the “suck and fuck” rhyme, Wizkid is the perfect man for his muse; he’s the only one that can make her feel love or feel warm, the only one that can relieve her stress, and likely because he is the only one that can make her cum. Though Wizkid brags a lot about his stamina and his dexterous oral muscle, he is just as much into having a good night as he is into treating his lady right. It is refreshing and tantalising to hear a male artist advocating for sexual equality in the bedroom as well as emotional maturity in relationship affairs.
Wizkid has been winning women over with his lyrical seduction since his “Tease Me” days. But over the years, as Wiz has matured, so has his growingly alluring vocals, boasting a seductively calm voice that narrates his grown-up intimate desires, adding more authenticity to his irresistible music. When it comes to “No Stress”, UK-based producer P2J (who boasts sprawling credits on Beyoncé’s ‘The Lion King: The Gift‘ album) uses his talents to forge the safe, sexy space that affords the type of encounter Wizkid narrates over the gyrating beat. P2J’s prowess is evident from the subtle details he weaves into “No Stress”, for example, in the background of his production, listeners can sense a muffled vocalising trooping through each bar, mocking the orgasmic sensation Wizkid repeatedly describes – and, for all music lovers, metaphorically imparts – on this song.
“No Stress” leaves listeners pulsing to the beat of Wizkid’s perfect modern love affair. It’s another W in the bag for Nigeria’s brightest star.
Featured Image Credits: Wizkid/Instagram
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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.”
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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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