Best New Music Album Special: Burna Boy ‘Outside’
A career defining classic
At Burna Boy’s Outside listening party in the UK, with press and reps from Atlantic Records, conversations flitted around the man of the hour to somewhat imply Burna’s cover feature with NATIVE “made him the star he was meant to be”. The thought was both warm praise for our debut cover story and valid context for Burna’s Outside campaign.
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To quote the same profound Burna Reborn, feature “Burna still carries the aura of a mythologised outsider operating in his own world”. He attests to this on “My Life”, the opening track for his debut album, L.I.F.E. “I feel like I’ve been Burna Boy since before I was born” he’d told us last year.
Whatever they said Burna Boy did, he did that shit. That idiot.
— Steve Dede (@SteveDedee) November 21, 2017
“My Life” is a defiant ownership of identity, but Benson Idonije’s vocal interlude at the end of the track is still cringe-worthy on replays today. In the grander Burna story, however, the ironic inclusion of his Grandfather’s literal co-sign on a coming-of-age song, makes sense as a seal of approval. After all, this was before his fall out with his Momager, before he publicly threatened bloggers, and even further before swirling rumours of alleged roadman days made him a low-risk target for Nigeria’s sensationalist media. With the turn of his career ever since, the words of his Grandfather, a revered music critic in his younger days—who also managed Fela—was a preemptive vote of confidence needed to underscore Burna Boy’s occasional flair for breaking rules.
It’s been nearly five years since, but nothing has changed about Burna. You hear this on opening track “More Life”, where he sings You know what it is when you’re with me’; in translation ‘you already know what you signed up for’.
During a recent sit-down with Interview Magazine, Burna Boy described Outside as “The first actual one”, referring to the project as his first truly curated album. Though Burna only means this in the context of his newfound dedication to make an album capable of garnering him a duly deserved wider appeal, it speaks volumes of the man, his craft and of the actualisation of Afropop.
Contextually Afropop has not been considered outside of the vagueness of “World Music” by local and international media, or its stakeholders. The obvious cause is in direct relation to how the continent’s colonial history positions Africa on the receiving end of culture transfer from more developed nations.
Nearly two years ago, the ‘Afrobeat vs Afrobeats’ argument became placard inscription in protests to save international media from overriding Fela’s legacy with the rise of ‘UK Afrobeats’, an upshot of popular African music played in London nightclubs—following D’banj’s instrumental leap into European markets at the turn of the decade.
The release of Wizkid’s Superstar in 2010, spurred a definitive but raucous era for experimental, virtually overproduced popular West African style music. Superstar blends Wizkid’s Ojuelegba flavour and vocal work with hip-hop grit, while the sound itself borders on electronics for the most part. Albeit unintentionally, the project glimpses how far Africa had come at the time musically; from Fuji-inspirations, on “Pakurumo” up till the earliest inspirations for African neo-R&B you hear on “Love My Baby”. This is important because, think about it like this: It’s been Afropop, R&B, Hip-Hop, Soul and Gospel Music amongst other genres to us for a minute, but until recently, music of African origins was veiled by the misguided connotation of being many variations of a generic African sound called ‘Afrobeat’. Even now, many proponents of UK Afrobeats, have clarified in multiple interviews that their sound has no relation to Fela’s Afrobeat. It’s not so much a rejection of the pressure that comes with taking on Fela’s socially-conscious legacy, as it also proves the far-reaching evolution of African music has long superseded narrow generalisations.
Today, Afropop is being historically and culturally solidified by the works of Wizkid, Davido and—despite his choice to be referred to as an Afro-fusionist—Burna Boy. Burna’s Afro-fusionist claim, is understandably a reflection of his honesty, as an artist who can create musical harmony by combining a range of elements without blurring his authenticity. Recently, however, sound fusion has been indemnified in Afropop by influences taken from Jazz, American hip-hop, European electronics, Afro-Latin and Carribean bass amongst other subtleties borrowed from popular music sub-genres.
Though the roll-out for Outside, technically began with “Rock Your Body”, in collaboration with Juls, Burna Boy’s first ergonomic single release from the project is “Streets of Africa”. The abstract themed “Street of Africa” art uses a palette of bright colours, and just enough attention to detail to dot Nigeria’s green white green flag in the title text. It’s the kind of subtle but precise African pride, you wish some of your favourites would show if they didn’t already fail at the bare minimum of mastering their sound.
On “PH City Vibration”, all of Burna Boy’s wanton influences from the city of his heart come together. Steel-pan drums form a Reggaeton-esque bass bridged with Jazz-inspired synths to alternate pace and flow. Burna Boy reimagines Port Harcourt through his eyes, recounting from the day he “was born inna the teaching hospital/ The 2nd of July of 1991”. The full Outside story becomes more vivid from here with Burna including interesting facts and introducing new characters.
“Know say Niger Delta boys no trust no minister/ That’s the reason why dem’a burst the cylinder” ; “Victory Baptist church next to cathedral/ Where Pastor Badu d’a the holy man / Him tell me say I wouldah be the chosen one”
Cuts like these where Burna sings of the not so glamorous details with perception he has resonated with over time, is Outside at its most picturesque. With an international record deal to ship, some artists in Burna’s position may have cut a track as deliberately Nigerian as “PH City Vibration”. Or go the Wizkid route instead; use loose songwriting, and settle for a corny but melodically efficient chorus. Here, Burna’s mettle pays off in the telling of his story as a man who considers himself the centre of the universe as much he considers everything that has made him a part of that universe.
Lily Allen’s presence on “Heaven’s Gate” has garnered the track a lot of attention in these parts. Burna has said in multiple interviews that his relationship with Lily Allen is familial, and truthfully their collaboration does feel organic on wax. Burna does most of the real work though, invoking memories of early hip-hop noughties nostalgia with aggressive patois-laced verses.
Mid-way through Outside is “Ye”, the most progressive song on the project. Burna gives spiritual commentary on the state of affairs, lending inspiration from Fela’s “Sorrow Tears and Blood”, and singing of his own perspective on life, going forward. ‘Ye’, is a generic Nigerian expression that could come from the mouth of a stretching elderly person, or hint at the sight of chaos. While the irony may have been implied, what is discernible about “Ye”, is the amorphous, ethereal quality of this particular sequence.
On “Ye”, Burna is a jaded narrator speaking from within a country where socio-economic conditions are cyclical and everyone is too afraid to do anything about it. Despite the occasional pressures to be a medium for the masses, Burna is not ashamed his choice to stay away from larger-society problems is bolstered by privilege; an impractical solution for people who may not have the luxury of choice between a ‘G.Wagon or the Bentley’. Unironically, Burna justifies the choice to be outside as a direct reflection of the reactions that have followed such endeavours in the past—because stereotypes skewer perspective (‘Dada cover my face, they calling me Lagabja’); or his means was misconstrued without the context for where he’s coming from (‘Plenty, Plenty suffer wey we face, just to make sure money dey’); and ultimately, because he cannot ‘Die for nothing’.
Outside is Burna Boy cascading the mastery of his sound with where he has come from and his own personal search for nirvana. You can hear this resolve loud and clear when he signs off the outro for “Ye”, languidly singing, ‘Oluwa Burna’, followed by more sombre adlibs of ‘Ye Ye Ye’ looping into the fade out.
Stream Outside below.
Featured Image Credits: Instagram/burnaboygram
Toye is the Team lead at Native Nigeria. Tweet at him @ToyeSokunbi
The Outside Story: on burna boy’s rebirth and his ascension to immortality
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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