Review: Black Sherif’s ‘The Villain I Never Was’
Black Sherif is unafraid to become the hero of his life
The current Black Sherif dominating global airwaves and the pre-fame Black Sherif who, nestled in the belly of Konogo, was seeking an audience with freestyles share a similarity: vulnerability. It’s a resonant ability to engage in a catharsis that pulls his listeners closer to himself. Take his three-year-old freestyle “Motivation” for instance. In the video, a 17-year-old Black Sherif, seated on cement blocks, is staring at the camera as he lays his vocals over a Highlife-influenced Pop beat filtering from an unseen speaker. In the freestyle, Black Sherif is pleading with the government and those fortunate enough to have better odds at life, to show consideration for the plight of citizens in the poor Ghanaian communities.
“If you no get money/Abeg give us motivation/Show me love and hold me down/That be all I dey want from you,” he sings. Black Sherif’s use of “us” is deliberate; he marks himself as one with the people, as one who understands their realities, pains and joys. He considers himself a voice for his people. “I feel like I am touching on spots that people used to not touch and I am being as raw and real as I can be,” the Ghanaian singer told GRM Daily. “I am being the voice of that boy outside, because I am from there, I am from the Zongo (ghetto).”
Raised by a large network of family relatives in Konogo in the Ashanti region of Ghana, Black Sherif, born Mohammed Ismail Sherif, chose a life on the streets, buoyed by a determination to carve his path and harken to the call of his destiny. His travails and experiences are the fertile soil that Blacko—as he is affectionately referred to by fans—feeds his words. His breakout singles “First Sermon” and “Second Sermon,” both odes to street life, capture Black Sherif’s energetic delivery and firebrand lyricism. On his debut album ‘The Villain I Never Was’, which shuffles past the previously planned ‘Road To The Tape’ EP, Black Sherif makes a personal catalogue of his journey and that of the people he holds close to his heart.
Before the grittiness of “First Sermon” and “Second Sermon,” there was the softness of “Cry for Me,” Black Sherif’s debut single. His Highlife influences colour the tone of his delivery and the mellow rhythm of the track. It was also the opening chapter of Black Sherif’s common-person personality. Although “Cry for Me” showed that Blacko was a talented singer, it was “Money” that brought him recognition in his home country. This time, Black Sherif took his Highlife style of delivery and layered it over a Hip-Hop beat as he sang about his desire to escape poverty. On the remix, which features Ghanaian acts AMG Armani and Tulenkey, the latter makes a pronouncement, “Sherif, you go make am/E be time.” Less than a year later, “First Sermon” and “Second Sermon” were released and now, Black Sherif’s ghetto gospel is gaining massive appeal around the world.
“I’m at my down-est in life/And I’ll be homeless for a while/I know it’s unbelievable/Cause I had a home a few days ago,” Black Sherif reveals on the album’s opening track “The Homeless Song.” It is a striking revelation because no one could have imagined a homeless Black Sherif amid the acclaim trailing his music. But it is an example of the honesty Blacko has embraced all through his career. Ever the optimist, he reiterates that although he might fall, he will always get back on his feet, channelling the emotions from “45,” where he sings, “If I fail, I needed that/I’ll come back stronger.”
Defiant is one word to describe Black Sherif’s attitude in his music. Whether he is narrating personal pains on “Kwaku The Traveller” or collective trauma on “Soja,” Black Sherif informs the listener that he refuses to back away and settle for less. On the former, which was released in March, he owns his mistakes with the quotable—“Of course I fucked up/Who never fuck up hands in the air, no hands?” On the latter, where he recognises that he is not the only person in the world with struggles, he calls on listeners not to let the darkness of life overwhelm them. “No, I go dey run my race/I’m gonna keep my pace/Cause I really have no one to blame when I fall again/I can’t stand this pain/I can’t watch me fail,” he raps on “Kwaku The Traveller.”
That defiance even shows up when Blacko is having a great time. As he celebrates his victories on “Oil In My Head,” he chips, “Man don’t stay down when man fall/I get up and come for more.” On the equally jubilant “We Up,” he sings, “On God I trust no man/I lost few mandem to the game I was close to my grave I fell in a trap/But you know man don’t stay down.” It is a trait that Black Sherif honed while in the Zongo settlements in Konongo, one of the roughest areas in Ghana.
Since the days when Nigeria and Ghana began sharing cultural influences through music and other forms, there have been conversations about both country’s music industries and Nigeria’s dominance in the African music scene. From the issue of Nigerian songs topping music charts in Ghana to the most recent Global Citizen Festival, where headliner Usher called three Nigerian acts (Oxlade, Tiwa Savage and Pheelz) to the stage during his performance, Nigerians and Ghanaians are engaged in constant battle. In the media tour for “Kwaku The Traveller,” Black Sherif favoured collaboration. He visited media houses in Lagos and was featured on shows of Nigerian content creators, helping “Kwaku The Traveller” become the first Ghanaian song to debut at number one on the TurnTable Top 50 Chart.
“I don’t smile when I take pictures most of the time,” Black Sherif told OkayAfrica. “We are sad boys because there is nothing to laugh about.” The melancholy in his music is in alliance with the current crop of melancholy-driven sound permeating the African music space. Last year, Black Sherif released “Ankonam,” whose title translates as a loner; on the track, he evokes a sobering mood about sadness. On ‘The Villian I Never Was,’ he makes a tribute to the disciples of melancholy with “Sad Boys Don’t Fold.” Contrary to the solemnness of “Ankonam,” the energy on “Sad Boys Don’t Fold” is upbeat as Black Sherif paints himself as “the man who’s always been sad and ballin’ every day.”
He brings that melancholy to “Oh Paradise,” as it contends with the song’s bright horn blasts. Dedicated to his late girlfriend who passed away in 2017, Black Sherif revives memories of their time together and expresses frustrations at the good times that they never shared. “Sleep well my lover/I will be fine my lover/And my love for you’ll be forever,” he sings. Delivered mostly in his native Twi, he consoles himself with the belief that she is in heaven and begs her to ask for blessings on his behalf.
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Since he entered the music industry, Black Sherif has never hidden his admiration for the Asakaa Boys, the Ghanaian Hip-Hop group who, in 2020, bolstered the rise of Drill in their home country. Borrowing from the Chicago-originated sound, which was adopted and evolved in the UK, then commercially elevated by the late American rapper Pop Smoke, the Asakaa Boys—made up of O’Kenneth, Jay Bahd, Kawabanga, Cedi City Boy, Reggie, Kwaku DMC, Sean Lifer, Rabby Jones and Braa Benk—spun their unique experiences on the sound’s characteristic hard baseline and inspired a new generation of artists. Black Sherif and fellow Ghanaian artist Yaw Tog are some of the popular names on Ghana’s Drill scene.
On ‘The Villian I Never Was’, Black Sherif utilises Drill for “Sad Boys Don’t Fold,” “Konongo Zongo,” “Wasteman,” “Oh Paradise” and the Burna Boy-featuring “Second Sermon (Remix).” A self-acclaimed street preacher, Black Sherif pays homage to his roots on “Konongo Zongo,” as he revisits tough decisions he made in the past. He remains on the streets of Konogo and offers a peek into the life of one of its inhabitants on “Wasteman,” giving details about the pressures that many youths in improvised communities face. On “Second Sermon (Remix),” which was released last year and helped Black Sherif’s rise, Nigerian artist Burna Boy gives colour to the certified street banger.
There are not a lot of love songs in Black Sherif’s discography. Before ‘The Villian I Never Was,’ there was only 2020’s “Mariana.” On the album, there are three: “Toxic Love City,” “Don’t Forget Me” and “Oh Paradise.” Like “Oh Paradise,” there is a dark streak to “Toxic Love City.” On the song, Black Sherif admits his unwillingness to let go of a romantic partner who brings out the worst in him. He wants to leave but he is unsure if someone else will accept him. Between a known evil and an unknown good, he chooses the former. The vibe on the Reggae-influenced “Don’t Forget Me” is healthier, though. He opens up to his loved one, requesting that they spend time together before he inevitably leaves and goes into the world to hustle.
On the production side of ‘The Villain I Never Was,’ Black Sherif sticks with Ghanaian Stallion (“Second Sermon (Remix)”) and Joker nharnah (“The Homeless Song,” “Soja,” “Prey Da Youngsta,” “Konongo Zongo,” “Toxic Love City” and “Kwaku the Traveller”). He also makes space for new collaborators—London (“We Up” and “Don’t Forget Me”), Samsney (“Oh Paradise”), JAE5 (“45”), WhYJay & LiTek (“Oil in my Head” and “Wasteman”), AoD and RNDM (“Oil in my Head”) and Zaylor & Dystinkt Beats (“Sad Boys Don’t Fold”). These producers, diverse in style, cook a potpourri of sounds that offer magnificent uniformity on several listens.
While the production list is crowded, the guest list is not. It is a Black Sherif show, with only Burna Boy disrupting the flow, right at the end. The track list shares the individuality of Omah Lay’s ‘Boy Alone,’ another debut album from the African continent that does not have a crowded guest list. The album’s cover art, which bears similarity to Eminem’s ‘The Eminem Show’, places Black Sherif firmly in the spotlight. ‘The Villain I Never Was’ is Blacko’s diary, where he pens his pains and aspirations and victories. Although he might make mistakes, he is willing to own them while he creates his world. He is unafraid to become the hero of his life.
Stream ‘The Villain I Never Was’ below.
Featured image credits/NATIVE
ICYMI: READ OUR REVIEW OF OMAH LAY’S ‘BOY ALONE’
What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
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NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”
From working her way out of London’s Myatt’s Field, Tanika is now setting her sights on the bright lights...
Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.
Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter.
On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest.
Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song.
From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it.
Her answers, which follow below, have been lightly edited for clarity.
How would you describe where you are in your career right now?
I’m just enjoying the journey.
What does the release of “Fast Fwd” signify for you?
It signifies love.
Why is Kida Kudz a fit for the song? (
To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship.
You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work?
Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel. I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you. A lot of producers don’t really understand the importance of knowing the artist musically but he does.
What were you aiming for with the video?
To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.
Catch an exclusive view of “Fast Fwd” below.
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Vlisco’s “The Garden Of Sisterhood” Campaign Comes To Life in New “MAYANGA” Video
A celebration of creativity and cultural
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.
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