Looking back at DJ Jimmy Jatt’s influence on Nigerian music
Prolific, consistent and constantly re-inventing himself, Jimmy Jatt has shown that you can rewrite history irrespective of society's narratives
Traditionally, DJing as an art-form existed for one purpose; mixing records at parties to make people dance. With the rise of hip-hop, however, this role required refinement and more than players of records or tastemakers, DJs also became creators of trends, who broke new and exciting music, standing at the pulse of an industry.
While there’s perhaps a considerable list of young Nigerian jockeys today who fit into these roles and are celebrated for their skills behind the needle, there’s older list of names who are recognised for their impact in the game. Outside of this, there’s a separate list which houses only one name, on who is eulogised as a trailblazer, turned a hobby into a paying career, and has influenced both the art-form and multiple generations. That name is DJ Jimmy Jatt.
With a career spanning close to three decades, Jimmy Jatt isn’t particularly a pioneer, in fact, this is a title he’s always eager to rebut. He’s however, something more; an institution—a huge figure in Nigeria’s pop-culture history at the vanguard of a movement, and an absolute living legend.
Let me explain
If you ask the average creative, chances are that many of them would have tried their hands at music at one point, particularly rap. For Jimmy Jatt, it was no different. His younger years were heavily influenced by the variety of sounds from the streets of Lagos Island and in a wider context, American hip-hop. He took to rapping under the stage name, Master J, and it didn’t take much longer for him to discover that there was a different calling to his dream of being an entertainer – the journey just required a slightly different path.
Coming of age in Nigeria, especially in the ‘80s and ‘90s, the famous question of your dream career was only limited to a few options: doctor, lawyer, banker or engineer—any profession outside of these were met with scrutiny and generally not taken seriously. At the time, being a DJ was regarded as a hobby or an activity for kids who lacked ambition, and while Jimmy acknowledges that DJing wasn’t a decision he knew would guarantee success, he was deliberate about doing it in order to prove the naysayers wrong.
For him, there’s a punch and power to being a DJ, which has always been appealing. He aspired to be the guy who determined which records got played at an event; the one who had a raised booth or corner all to themselves that very few could get to; the one with the secret key to whether a party popped off or not.
Jimmy not only shifted what it meant to be a DJ, he also shaped its perception by building the ‘cool’ identity, which has become the mainstay of his brand. With this small number of professional DJs at the time, Jimmy was already being regarded as the best DJ in Africa by 1989 and 1990 respectively, but it was later in that decade when the pop evolution began that the impact of his work got the attention it rightfully deserved.
Down the years, he established himself as the one-stop-shop for a wide variety of services. For the artist who could not pay a producer for beats, Jimmy Jatt’s studio was the go-to place for rough instrumentals. For upcoming talents on the streets, he kicked off the Road Block Street Carnival and took some participants along to the night clubs he played at, and for those with demo tapes seeking radio airplay, Jimmy Jatt was the plug with his radio shows; Fun Fragments on OGBC2 and later Friday Night Jams on Ray-power.
“I met DJ Jimmy Jatt for the first time around 2005 when I just came into Lagos to promote “Na Beans”, narrates veteran rapper, Terry Tha Rapman. “I went to his house in Surulere, played him my single and weeks later, he invited me to record on two tracks on his album.’’ The album Terry is referring to is ‘The Definition’, the first official LP curated by a DJ in contemporary Nigerian music.
Released in 2007, Jimmy leveraged his goodwill and extensive connections, pulling together the biggest name in the industry at the time for ‘The Definition’, a project Terry refers to as a “Hip-hop milestone”. The album was a resounding success, spawning hit records, including the evergreen Lagos anthem, “Stylee” and the all-female ensemble banger, “2 Much”.
In 2008, he began Jimmy’s Jump Off, a TV show providing a platform for rappers to showcase their skills. Jimmy’s Jump Off was programmed with several videos played in-between an interview session, but its main event became the last segment which featured a freestyle session. During its run, freestyling on the Jump Off was the avenue for rappers and even singers to bolster credibility and boost their CV.
Jimmy’s booth hosted a long and diverse list of notable rap acts, pulling in evergreen moments from the M.I, Modenine, Burna Boy, the late, great DaGrin, Wizkid, L.O.S, and much more. For Ghost, one half of the rap duo Show Dem Camp, who recalls meeting Jimmy Jatt when SDC made its Jump Off appearance in 2013, he describes the show as the “modern-day Sway in the Morning or Fire in the booth.’’ These days, the Jump Off has now been expanded into an annual concert.
The legacy
I have witnessed Jimmy Jatt perform on many stages, but my first time having a conversation of any form with him was at the Castle Lite Unlocks concert in Lagos, which J. Cole headlined. Hours before the show started, the organizers tossed the press into a room for a brief exchange with artists performing on the night. Only a few artists showed up, with several of them looking like they would rather be somewhere else, but not Jimmy Jatt—that is one attribute that has defined his career all these years.
He walked into the room exchanging light-hearted banter with those he recognised and it was no surprise that his session was the longest and most insightful, as he entertained questions with the clarity of someone who had a deep understanding of his craft, a genuine love for the music and a profound appreciation for people gathered in the room. “I always realised the need to keep learning and improving myself,” he told me in a separate interview in 2018.
“The internet has made it easy now for DJs unlike when we started, so for me, to be more is to do more.” He once attempted to put together a band of his own, after discovering a band that performed at Eko Hotel, where he earned his first big fee of N1,000, got 20 times that amount. He stuck with DJing, though, building the type of legacy money can’t buy or adequately measure.
!!! Name the DJs & win 50k for the weekend !To etch a legacy is to create stories that would outlive you. What’s really admirable about Jimmy Jatt is that he has never been complacent about being great, and it extends into the extensive list of DJs and artists he has mentored or influenced. There is hardly any Nigerian DJ who didn’t pass through or get some form of help from Jimmy Jatt, be it in words, tutoring or exposure. Today, DJs like Neptune, Consequence, and Spinall have successfully followed this template, becoming dominant fixtures in Nigerian music and possessing a number of projects in their respective catalogues.
I once read that a strong measure of an artist’s greatness and legacy is how often they are cited by others as an influence—“He is always a positive force,” Ghost tells me. Jimmy Jatt certainly didn’t invent the art of DJing, nor was the first to place pieces of vinyl on a turn-table on the streets of Lagos, but the impact of how far he went to make a success out of it – not just for himself, but for anyone who dares to dream is monumental and far-reaching.
Longevity does not automatically equate to legendary, but it’s a major part of it. Prolific in the 90s, consistent in the 2000s and constantly re-inventing himself, Jimmy Jatt has shown that you can rewrite the history of your chosen path irrespective of how the society tries to outline the narratives. In his words, “If you do a great job, people will come find you,” and for close to 30 years, people have not stopped knocking on his doors.
[Featured Image Credits: Instagram/djjimmyjatt]
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Ehis Ohunyon is a veteran journalist, amongst other things. Direct your questions on Nigerian music and pop culture to him @ehiscombs
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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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