“I didn’t want you to see what’s coming – that’s the essence of this album” This is what Adekunle Gold had to tell Apple Music of the final record on the album, titled “My Ex”. Upon reaching that point, one thing is clear to everyone who listened in full; in this sense, Adekunle Gold has […]
This is what Adekunle Gold had to tell Apple Music of the final record on the album, titled “My Ex”. Upon reaching that point, one thing is clear to everyone who listened in full; in this sense, Adekunle Gold has prospered. With ten worldly tracks stacked cohesively atop one another, each side of the decagon that is his third studio album, ‘Afro Pop, Vol 1.’ brings an unexpected display of musical dexterity, that portrays a professional growth as much as it portends global success.
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Adekunle Gold has been inching towards this, subtly. More discreet than Tiwa Savage or Burna Boy or Rema, whose international PR drives have seen them cover billboards, star on late night TV and feature extensively across global-reaching publications. This year it was revealed that Gold had secured a deal with Universal Music Group subsidiary, Virgin EMI Records, but even last year, signs that AG was pushing for a global audience came through his first joint venture with Nailah Blackman on Walshy Fire’s “Outside” off ‘ABENG’, just weeks apart from his contribution to Michael Brun and BélO’s ‘Lokal, “Eda”. His singles, “Before You Wake Up”, “Promise”, “Young Love”, and even “Kelegbe Megbe” (note: not “Jore” as its sparse lyrics are predominantly in Pidgin English) stripped themselves – though not completely – of the Yoruba tongue that seduced listeners during Adekunle Gold’s breakout years, still under Olamide’s feeder label, YBNL. “Sade”, “My Life”, “Orente”, “Pick Up” all featured extensive conversation in his vernacular tongue, but as his ambitions ventured overseas, so did his primary mode of lyrical delivery. Understandably; the world is ready for an Adekunle Gold – an alternative Nigerian artist who feeds the fancy of both mainstream pop channels and traditional folk and highlife predilections – Adekunle Gold had to do all he could to make sure that he was ready for the world.
Nigeria has been taking baby steps towards global domination for some years now. Africa has always had its art at the centre of cultural production, but in recent years, the continent has become the subject of much global intrigue. Despotically prodding at the human race’s region of origin as if it were an infant child to be coddled and smooched, Western popular culture, which eclipses global conversation, has adopted an “Africa Now” stance that purports a sort of reintroduction to the richly populated continent. Africa is the baby giants from West to East want to hold; our country, Nigeria is its cheeks – the first port of call for curious powerhouses in global industries stretching from music to technology; the seemingly malleable region that commands the most attention from outsiders on a touristic adventure. The current neo-colonial dynamic of this cultural exchange deserves our critique, but it would be dishonest to imply that the Africa to the world narrative has been solely to the detriment of Nigerians (though our dominance in African affairs is likely to the detriment of other African nations).
In the world of music, some will argue that ‘to the world’ began with Mo’Hits’ brief stint with G.O.O.D Music, that this was the start of contemporary Nigerian pop’s crossover into the international market. I like to take that glorious year, 2016 as the real turning point for Nigerian music. International collaborations had been popping off for years; in 2013, the ever-relevant 2Baba teamed up with T-Pain for the clubbuster, “Rainbow”, the same year that Rick Ross made his appearance alongside Nigerian pop’s more prolific brother’s on “Onyinye” which was preceded a year earlier by Akon’s feature on P-Square’s 2012 hit single, “Chop My Money”. In 2015, leader of contemporary Afropop’s latest charge, Davido linked up Meek Mill for the slept on single, “Fans Mi”, but it was the year after that, when his long-time rival, Wizkid bagged a surprise remix from Drake and Skepta – both kings of their respective turfs at the time – that the frequency and consistency of Nigeria-International collaborations stuck.
The year was 2016; and since then Nigerian music has been a mainstay in global music conversations, growing in relevance with each emerging artist with a flair for Western appeal. The idea of ‘crossing over’ no longer seems so daunting, so impossible or so exclusive; with less than two years on our radars Fireboy DML and Rema have both made a name for themselves internationally, a feat that took Tiwa Savage, Davido and Wizkid over half a decade in Nigeria’s limelight to achieve. With international recognition comes international acclaim, exemplified by Burna Boy’s year-long Grammy campaign, and it is in this is the climate that Adekunle Gold’s ‘Afro Pop Vol 1.’ has already been touted an Academy Award contender (with some corners of the internet giving Gold’s Album of the Year above Burna Boy’s ‘Twice As Tall’).
The contemporary influences and Western appeal are one of the first points of note on Adekunle Gold’s ‘Afro Pop Vol 1.’. His first body of work with EMI, Gold’s ‘Afro Pop’ title suggests a comprehensive summary of the sounds that rule African pop music; incorporating Gqom styles (“Sabina”), staying true to his highlife origins (“Water Carry Me”) and delivering a quintessentially Afrobeats song (“Firewood”), Adekunle Gold does his title justice. However, his flexibility doesn’t end at simply adopting varying musical tastes from his local sphere of influence, what listeners and this writer seem to have picked up on first is Gold’s ability to craft these recognisably afropop genres into Western-defined pop songs without sounding like a sell-out.
What Gold himself describes as a drivetime summer bop (once again in his Apple Music album notes), “Here for Ya” could easily play on London’s Capital 1xtra,or fitted into a road trip sequence from the Hollywood hills. The song begins with echoed chants, “I’m here for ya” and ominous chords that kick into an electronic beat (courtesy of Diplo) which is augmented by Pheelz homegrown production, featuring vibrant horns and a mixed riff that plays like every other pop song blaring through Western radio channels. Lyrically too, Adekunle Gold transcends borders, singing of his devotion to a single girl, in an attempt to prove his worth to her. In any other setting “Here fo Ya”, would be a generic cliché worth of few commendations, but in the context of ‘Afro Pop’, this quintessential “World Music” number is another notch in Adekunle Gold’s heavyweight belt.
Coming up as an alternative artist, forgoing conformity for a highlife stroke with his debut album, ‘Gold’, Adekunle Gold is easily left out of conversations to do with afropop leading artists. Though his music isn’t mainstream, as an artist he is, so it is fair to say that these omissions have been unwarranted, nevertheless the jaded lover who grew up into a more confident singer on ‘About 30’ now sets himself up in the big leagues as a world renowned artiste, and through this entire campaign, he’s simply let his music do the talking.
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Adekunle Gold’s growth is glaring; in several aspects of his artistry he has evolved. Where ‘Gold’ felt like compilation of rejections, ‘Afro Pop’ – a little too heavy on the love songs considering the diversity of content we heard throughout ‘About 30’ – puts Adekunle in control, most of the time. Whilst “Sabina”, with is gqom flexes, live tenets and jazz subtleties, sees Gold pining for a second chance, Blaise Beatz’s “Something Different” it reminiscent of the Adekunle Gold from the 2010s in its sound also. But the way this track cries around the topic of unrequited love, is contrasted by the song that follows, a highlife number, “Water Carry Me” which sees Gold win in love in the end. The W that is “Water Carry Me” – its folk rhyme chorus in line with its Pidgin English title to make for a modern reworking of a tradition canticle – translates to the album in its entirety, as the penultimate track illustrates a win (not just in terms of love) that has been building up throughout the project.
“Water Carry Me” and the one that follows it, the tenth and final track of ‘Afro Pop’, “My Ex” are more reflective the rest of the album than “Something Different”. The latter song’s sonic mood is matched solely by “Firewood” (which boasts an effortless Tekno feature), its jaded subject matter finding peers in only “Sabina” and the R&B collaboration with rising singer and long-lasting friend of Gold’s, Olayinka Ehi on “Exclusive”. “My Ex” narrates a well-known feeling of regret, when our lust trumps our wisdom and we make that embarrassing journey back. Familiar as Adekunle Gold’s lyrics may be, “My Ex” delves into unfamiliar territory for the artist, as his relatable chorus, where he repeats “don’t judge me”, is twisted into an electronic riff, his vocals sent to the background of Spax excited production. Returning to the quote that opened the review, “I wanted to do this [beat switch] with all the songs on this album. I didn’t want you to see what’s coming – that’s the essence of this album,” “My Ex” achieves, more than any song on this album, the juxtaposition of calmness and club-bounce that Adekunle Gold seems to be going for.
Going from zero to hero, between debut and sophomore, AG has carried on his biannual progression, growing even more sure of himself on ‘Afro Pop Vol 1.’, with songs such as “Pretty Girl”, “AG Baby” and “Okay” depicting the confidence and control that Gold has been building up since his coming of age project, ‘About 30’. A harsh opening, particularly with his enunciation of the word “shit”, as he sings “stacking up my money no time for your shit”, “Okay” dismisses the love and lust that populates the album, focussing squarely on Adekunle’s Gold come up – this is what makes the record so strong amongst the rest. Bragging about his wealth (“I dey my penthouse you can’t even reach me”) as he verbally drags everyone who stands in the way of him peacefully living his life until they’re literally dragged out of the picture, “Okay” is a subtle song, its laid-back subdued energy offering a sinisterly threatening atmosphere, given Gold’s no-nonsense lyrics (“I’m not the one, calm down”).
Adekunle Gold’s plea to be left to his own devices, hints at another walk of life in which he has evolved; his style. Nigeria’s is an incredibly traditional society, where deviation from the norm is not only discouraged but most often chastised as disrespectful or attention seeking. However, as our borders open up to international stakeholders and their liberal mindsets, in tandem with the rise of the non-conformist Alté scene that encourages self-expressive style experimentations to compliment its sprawling musical output, the music space – not surprisingly considering that music and fashion are creative bubbles that pride themselves on confronting the status quo – has seen a visible shift away from the traditional. Fireboy paints his nails black, Rema carries around a teddy bear, Runtown wears cowboy boots, Adekunle Gold models primary school beads on his album cover. But this is not to say that society as a whole is progressive or accepting of the do you philosophy that seems to be spreading to far corners of our music industry. One artist that bears the brunt of Nigeria’s wider audience’s bigoted curiosity is Odunsi (The Engine), whose every tweeted media is subject to interrogations about his sexuality or faux concern over his mental wellbeing. It says something, then, that Adekunle Gold a 30+ (we all know the significance of that) mainstream artist (in all but his music) so freely dons his fashion-forward, loose-fitting co-ords and glimmering suits, crowned with his now signature braids and beads – but his style choices haven’t evolved without criticism.
In the midst of his album promotion, Adekunle Gold came under fire for co-opting queer aesthetics, in light of his wife’s numerous homophobic remarks went unchecked across the internet. When Simi opened her notes app on the third of this month to deliver an apology to the LGBTQ community, the scrutiny only intensified, as the public questioned the convenience of it all. Gold had just released his album tracklist and was celebrating a feature in Quazar Magazine, a queer publication – by any measure, this was not a time for mumblings of queer exploitation on the part of the style-experimenting artist. Adekunle Gold maintains he knew nothing about it, whilst others still suspect those few days were orchestrated by the infamous PR machine; whatever you choose to believe (I’m on the latter side of the fence), though “Okay” is not a tirade against the critics, it still stands as a firm reminder that Adekunle Gold wants no interruptions in how he chooses to live his life.
He’s a long way from his photoshop origins, a time at which doctored images of Adekunle Gold with Tiwa Savage, Toolz or Tonto Dikeh were all the public had to see of Adekunle Kosoko, the promising, yet undiscovered singer who was poised to take on the world. Thanks to a role as the graphics designer for YBNL (AG majored in Graphics during his study of Industrial Art Design at Lagos State Polytechnic), Adekunle Gold was given the chance to be a Nigerian singing sensation, but what he saw was the world within his clutches. In an oversaturated industry ‘Afro Pop Vol 1.’ looks more like an airplay charter than a playlist number – overtly pop albums don’t inspire much playback – to this writer at least. Still, ‘Afro Pop Vol 1’ is the vessel with which Adekunle Gold will reach the global heights we imagine for our brightest stars. We cannot predict any Academy decision, but whether he brings it home or not, that the people can put their faith in Adekunle Gold to deliver Nigerian pop her first Gramophone portends a global success that we hope AG Baby, our baby, rides out to its fullest.
Stream ‘Afropop Vol.1’ below.
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu, aims to bring the dance...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people don’t dance at gatherings anymore. While partying, theoretically, includes other activities like talking to strangers, getting drinks, and conducting business, it is primarily geared towards dancing and living in the moment.
These days, however, there seems to be more emphasis on these other activities than actual partying. People are doom scrolling on the dancefloor or are more occupied with trying to take the perfect selfie. Enter: True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu that aims to bring the dance back to the parties by centering on the richness of African sound and the communities that love it.
“We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers,” Kofoworade tells The NATIVE about the inspiration for True Clrs over a Google Meet conversation in July. “Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas.”
Since its inception in 2023, True Clrs has hosted over 15 editions of its travelling party series across cities in the United States. In addition to a dedicated real-life following that engages with their series, they have also cultivated a robust online presence thanks to their meticulous branding and active CRLS YouTube page that features various thrilling DJ sets.
Ahead of the latest Houston edition of True Clrs, which featured ODUMODUBLVCK and Sarz headlining the Global Sounds Stage and others like Native SOUND SYSTEM’s DJ Sholz, Lowkey Ade, and Khulumars on DJ duties, we caught up with Adeola Kofoworade to discuss how they’ve managed to position True Clrs as the go-to party series in Texas, what makes them unique, and what their long-term plans are.
What inspired True Clrs?
We originally started True Clrs about two years ago because we noticed that there was a space in Dallas that we could infiltrate. We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers. That’s something pretty notable down here in the South. In clubs, there are a lot of sections and no big dance floors, so people are stuck in their sections without really interacting with other people. Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas. At first, we started with Afrobeats and Amapiano-centred parties, but then we started branching out to other genres as well.
How have you been able to position True Clrs as one of the go-to diaspora-focused party series in the U.S, especially in Texas?
We try to be innovative. We always try to make every event better than the last one. So if you came to one of our events the previous month, we try to switch things up and make sure you have a better experience the next time you come. We do this by booking notable DJs from around the country and even around the world. We also started booking a lot more talents. Last year, we had Lancey Foux; we had Sholz, who brought ODUMODUBLVCK; and we also had Skyla Tyla. This year, we’re looking to do more of that so we can always give our audience a notable experience.
How do you balance catering to the African diaspora with appealing to a broader audience that might be unfamiliar with the music and experience?
There are a couple of ways we try to do this. First, since we have monthly events, we try to switch between different genres and vibes. So let’s say, one month we have an Afrobeats and Amapiano party, the next month we could switch to this concept that we call the R&B rave. In the R&B rave, we basically play all types of R&B music, whether it’s old, contemporary or alternative, and we curate a rave-like setting.
We also run this concept where we have like two or three stages playing different genres. We could have one stage playing Amapiano, the other R&B and the other more global sounds. I guess it just depends on the venue we use. But we’re able to offer different experiences even at the same party.
Are there any other unique elements that set the True Clrs experience apart from other nightlife events?
One of our main appeals is recording DJ content. I know DJ content has become saturated recently, but what separates us is that a lot of our content is very genuine. It’s not made up or staged. We get real-time reactions from people. A lot of the time, people don’t even know they’re being filmed. Our content makes us notable, and it’s helped push our brand forward.
Since you began True Clrs, how have you been able to cultivate a strong online presence as well as a thriving community in real life?
With our online presence, it’s really been our content that has helped put us out there. We’ve had a couple of reels or YouTube sets go viral, and that’s definitely helped our online presence. Also, just being the kind of people we are, we take our time when it comes to branding True Clrs. We get a lot of feedback from people regarding our content, and we take it into account moving forward. For our real-life community, my partner and I had already been heavily involved in the entertainment space and the African community here before we began True Clrs. So we got a lot of support when we first started, and we’ve just kept building from there.
What’s the long-term vision for True Clrs? Are there any plans to expand into other U.S. cities or even international markets?
Definitely. Last year, we had our first international event in Addis Ababa, Ethiopia. My partner was up there for a holiday, and we decided to throw an event there. In the future, we do plan to expand to other countries, whether in Africa or Europe. With our connections with talents like Lancey Foux, Skyla Tyla, we’re also looking to see if we can put together festivals. That’s what’s on the horizon for True Colors.
What would you say to someone who’s never been to a True Clrs party? What should they expect, and why should they come?
Our goal is community curation through music. So what I would tell someone who’s never been to a True Clrs party is they should come with an open mind. They should trust our DJs because they might hear songs they’ve never heard before and still be able to have a good time. Also, while we don’t force people to interact, we encourage people to interact and dance while listening to good DJs.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she emerged on the Nigerian music scene in 2011, Ms. Savage has set an inimitable standard in terms of platforming the point of view of women at the pinnacle of Afropop, working to show that women are multi-dimensional and layered, capable of going through the motions of joy, angst, distress, and optimism just as much as the next person. By unapologetically leaning into the very minutiae of what makes her tick as a woman, she’s become a fan favourite and an undisputed legend of the genre.
Impressively, she’s done this while making great strides sonically. From the throbbing afropop of ‘Once Upon A Time’ to the swaggering house-inflected triumph of ‘R.E.D,’ and the dense polyrhythmic structure of ‘Celia,’ Tiwa Savage has continued to tincture her R&B-adjacent sound with influences from home and abroad. It is an accurate reflection of Tiwa Savage as a person: grounded by her Lagos heritage but shaped by global influences. For the last six months, she has been talking up her forthcoming fourth album, describing it as a full-throttle return to the R&B sound that was her stock in trade before she returned to Nigeria in 2011 to establish herself as an Afropop powerhouse.
In April, she released the emotive “You4Me,” clearly establishing the direction for her new album, ‘This One Is Personal.’ Produced by Mystro Sugar, “You4Me” put a fresh spin on Tamia’s ’90s classic “So Into You” with percussion work by Magicsticks adding a decidedly Afropop sheen to the song. Upping the ante, Tiwa Savage returned with “On The Low,” a delightful sung-rap bop featuring British-Nigerian rapper, Skepta. Like “You4Me” before it, “On The Low” is steeped in R&B tradition, finding Tiwa Savage pining after a love that feels like a taboo or forbidden pleasure. Produced by Rymez and Mystro, it is a surefire pointer that Tiwa Savage wasn’t joking when she said ‘This One Is Personal’ had overt R&B influences.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is helping to propel her artistry to new heights. Just as the soundtrack for ‘Water & Garri,’ her debut as a filmmaker, pared down universal emotions like longing, desire, and anxiety into digestible bits on standouts like “I Need You,” “Lost Time,” “Love O,” her latest song chronicles the intangibles of a romance that’s quite not out in the open. “I know you want to link on the low / We have to stay discreet, you don’t know,” she sweetly intones on the song’s hook, clearly obfuscating the true status of the relationship but revealing just enough to let her listeners know that the dynamic of this relationship is not the usual.
It’s a premise that is established from the opening lines of the song when Skepta breezily starts with an offer to travel, presumably after being unavailable for a while. “Yeah, I’m off tour, we should celebrate / Dedicate some time for you, baby, it’s a date,” he says. It sets off a sequence where Tiwa Savage admits to being annoyed by the complexities of this relationship.
Still, there’s something about the thrills of these tenuous romances that keeps one tethered to them, and Tiwa Savage manages to capture the dilemma of the situation when she sings, “Boy, you make me stressed, you don’t know / Then you send me sweet texts on the low.” Her measured delivery and tonal inflections lend an air of believability to the story that would be inaccessible in lesser hands.
It helps that even as she revisits her R&B origins, the singer still maintains a strong connection to the sonic references that made her an Afropop juggernaut. There is seriously impressive percussion across “On The Low” with enough Yoruba ad-libs sprinkled across to remind any doubters that this is a Nigerian star paying homage to an elemental part of her evolution without losing touch with her roots. It sets the stage for This One Is Personal’ perfectly.
Listen to “On The Low” here.
