Inside the evolution of drill music in Nigeria’s capital city
"My brothers drilling in Abuja and I are the blueprint for drill music in Nigeria"
In a corner of Sheraton Hotels Abuja, the typically quiet Club Indigo bubbles. Inside, a young crowd feverously sings along as artist after artist comes on stage. Drill, the style of music inspiring this rapturous reaction, is different, heavy and loud, several sonic steps removed from the Afropop sound that rules the Nigerian airwaves.
It is an interesting crowd: Faces hidden behind balaclavas, baggy jeans with chains hanging from them, silk scarves covering neatly shaved heads, and metal jewellery glistening in the barely lit club. As the tempo picks up, shaking the room to its core, the crowd goes wild, lunging forward from the corners of the barely lit club as “Agbalagba,” the unofficial drill anthem, comes on. It is clear that this sound has found another home and is here to stay.
An offshoot of trap music and originally from the South Side of Chicago, drill has continued to gain popularity as one of the most prominent forms of rap music. Dating back to 2010, drill was popularised by key players such as Chief Keef and Lil Durk, who used the rap form to speak their truths with a stark honesty. In no time, drill music rose to prominence in Chicago, becoming the voice of the streets and making its way to the UK in mid-2012. It was here, in the slums of Brixton, that drill music was honed by rap groups like 67 (pronounced six, seven), 150 (now known as GBG) and 86, picking up a faster tempo, receiving a fundamental musical reupholstering, and ditching auto-tune to embrace a more loquacious style and rapid-fire yet malleable delivery, giving it the identity we are familiar with today. Rooted in the struggle-filled streets of inner city London, drill rap appeals to a demographic raised in deprived, crime-riddled areas. Its purpose? A form of expression for downtrodden neighbourhoods.
In 2017, when comedian-turned-rapper Michael Dapaah released his catchy, global hit single “Mans Not Hot,” under the alter ego Big Shaq, the internet caught on pretty quickly. Big Shaq had sampled a beat made by UK drill producers GottiOnEm and Mazza, which was first used by the drill group 86 on “Lurk,” and later by 67 on the track “Let’s Lurk.” With the official music video viewed over 400 million times on YouTube, Big Shaq’s record played a fundamental role in announcing the subgenre to the rest of the world, spreading this updated form of drill music beyond the UK, and catalysing its inventive adoption across the world, from the U.S.—via Brooklyn—to Africa.
In Ghana currently, rappers from Kumasi are putting their own spin on drill music, in a collective locally known as Asaaka boys. The underlying theme of their movement is survival and the want for a better life, which they continuously rap about in a mixture of Twi, Akan, deeply parochial slang and sprinkles of English. Ghana’s Asaaka boys connect with their audience by telling stories that are authentic and paint vivid pictures of their pain and struggles. Over in East Africa, Kenya’s drill scene is leading the pack, with groups like Buruklyn Boyz holding the streets of Nairobi hostage with their chilly and infectious interpretation of the sound. Their breakout song, “Nairobi,” managed to garner over a million views, with little to no promotion, a mere nine months after its release.
Currently the centre of the pop-oriented side of African music, Nigeria is home to a variety of fusion sounds and drill is finding its flavour amidst the potpourri. In the capital city of Abuja, drill rap is quickly becoming a soundtrack for the streets, with artistes personifying the sound and painting a vivid picture of their community via their lyrics. The primary appeal of this somewhat new sound is the relatable storytelling modified to suit a Nigerian audience while maintaining the original soul and feel of drill music. In addition to being an ideal medium for unbridled personal expression, drillers in the capital city rap about socio-economic issues like police brutality and corruption.
“My music is inspired by everyday life,” says rapper and NATIVE Fresh Meat alum Tomi Obanure, who describes his style as honest, brutal, gritty, witty and wicked. “I rap about the struggles I face where I come from. I talk about my wins as well as my losses. My music is like a diary for me; I rap about the things I’m influenced by, the things I want to achieve—I speak things into existence with my music.”
Nigerian music has always been versatile, but the impact of social media and streaming, as well as the profound effect of the alternative renaissance towards the end of the 2010s, has heightened that level of adaptability, allowing artists to create fusions of various genres. This feature enables drill rappers in Abuja to own the sound, despite its distinct sequence and imported origins, making it as Nigerian as possible without losing its essence. “As Burna Boy said, there is a kick and a base. This base—my base, is who I am. I am Nigerian so whatever influence I have from the outside culture is what I put on this base to create a kick,” says Eeskay.
In 2020, Eeskay released his signature hit song, “Agbalagba,” featuring fellow Abuja-based rap stalwart Odumodu Blvck. Today, the track still holds Abuja audiences spellbound, with fans singing along word for word at every live show. “Most times, people do not know what they like until you give it to them, so you have to make sure that when you deliver, you do it with your chest,” declares Odumodu who, interestingly, dreams of becoming a football coach. Like many other rappers, he considers drill a reflective tool, touching on real life experiences across the board. “We are on the streets, in the trenches, so it’s what we see that we say. I’m inspired by everyday life, so I rap about my reality. I just got out of jail, I spent the whole of last week in jail, and now I’m out. Obviously, I’m going to rap about it,” Odumodu explains.
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As with every nascent and burgeoning genre, there is an apparent intersection between drill music, fashion and the lifestyle which comes together to define the music scene. Rapper KVV explains that drill demands authenticity. “What we have going is beyond just the music, it extends into a culture that is carefully characterised by certain features such as the lingo and the fashion,” he says. Truly, for a subgenre such as drill to secure increased visibility in the Nigerian music terrain, an accompanying culture is required.
“Today, I’m wearing blue,” Odumodu Blvck tells me as he begins to make a point. The dynamic rap artist, who goes by the alias “Big Gun” and dabbles in grime, drill, and Afropop-inflected rap, is dressed in a white singlet, black jacket and blue tracksuit trousers. “Typically, I’d wear black, maybe wear a hoodie inside my jacket. If you see me on the streets, you see the way I move, you go sef go tench, say who be this guy?” It exemplifies the sense of identity that’s needed for a scene to become undeniably impactful, especially in a country where rap is consistently pressed to the margins.
From Legendary Styles’ “Looseguard (I See, I Saw)” to King Perryy and Psycho YP’s “YKTFV,” drill music has had spare moments of nationwide popularity. Beyond the virality of these songs, there needs to be sustainability and a ground game that keeps drill from being just a fad, and that’s the refreshing nature of the capital city’s drill unit. “My brothers drilling in Abuja and I are the blueprint for drill music in Nigeria,” Esskay boldly declares. It is clear that the music they make comes from a place of passion and a desire to tell their stories exactly the way it is, without mincing words. “My music is organic. I’ve never been forced or felt pressure to make music before. I just go ahead and do it. Most days, I’m sitting in my room for hours just making music,” KVV says.
Moving in a loose but tight-knit manner, there’s a strong sense of brotherhood among the drill rappers in Abuja, especially as drill music is still largely uncharted territory in Nigeria and as such, the growth is collective. Many songs are recorded from makeshift studios in their houses, but this does not affect the quality of music they put out in any way. Perhaps, this DIY trait is part of what’s attracting more listeners. Even with the growing fanbase, drill music still has some ways to go in captivating more Nigerian ears, with the expected pushback from ears attuned to and favouring local pop music formats, but that’s not detering Abuja drillers.
KVV believes that drill music has the range to beat the initial resistance and go on to become mainstream. “I feel like our collective cuts across a very big demographic,” he explains. “We have the ability to reach out to a large spectrum of people because drill music has different representatives. There’s drillers rapping about things Nigerians in the diaspora can relate to, there’s drillers making music for people who have lived in Nigeria all their lives,” KVV says. Clearly, drill rappers in the capital city believe strongly in the gospel of their music and are convinced that the future of drill heavily depends on how far the artists in the scene are prepared to go. “I see how drill can become a mainstay in Nigeria depending on the quality of the art we put out—the visuals, production—I think it can go as far as we want to take it,” says Tomi.
If you are new to the Abuja drill scene, here are five tracks from the capital city to bring you up to speed:
“Agbalagba” – Eeskay (feat. Odumodu Blvck)
“Midnight” – Tomi Obanure
“Ten Toes” – Anti World Gangsters (feat. Reeplay, Odumodu Blvck, Tomi & Femo)
“60 Seconds” – Eeskay
“Unruly” – AfroSelecta-BBK (feat. Odumodu Blvck, LAXY bbk, Eeskay)
ICYMI: READ OUR ‘SOUNDS FROM THIS SIDE’ DIGITAL COVER ON ASAKAA DRILL
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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