The NATIVE Exclusive: Blaqbonez talks taking OAU and ground-up game plan to the mainstream
A special edition in the Life + Times of Bad Boy Blaq
Blaqbonez is funny. Not like floor-rolling funny, more like ‘haha get a load of this guy’. The way he tells it, his real life itself is lined with epic Nollywood-like plot twists and divine comedic timing.
“The first time I tried to record” Blaq began, “I broke the mic stand and the mic also, so I had to pay like 50K”, he said with a blank stare, adding “I swore never to hit the studio again”.
Freeze frame.
This was Emeka ‘Blaqbonez’ Akumefule at fifteen, getting dragged home by angry studio owners looking to arm-wrestle his parents for money to replace a damaged microphone. Blaqbonez did indeed stop trying to record music after that. He had been writing rhymes in his books for almost two years before that hilariously unfortunate incident, so he simply went back to doing just that.
He doesn’t narrow why he headed back to the studio in December 2012 to a single event, but he narrates a series of interloped stories. First, he won Terry The Rapman’s Zombie contest in February of 2012. Later that year, he started his foundational pre-degree programme at the Obafemi Awolowo University.
In OAU, another movie-like encounter with Chinko Ekun put him in the crosshairs of the future “Able God” star. “The first time I met Chinko, he rapped about my red tie and rhymed it with ‘Fatai'” Blaqbonez says, half-joking about the hilarity of it. But the real catalyst to becoming Bad Boy Blaq was support from other students in his year who pressured him to record after often finding the rapper relentlessly scribbling in his rhyme book.
Unlike a lot of people, Blaqbonez has seemingly fond memories of a Nigerian university education. I doubt he was insulated from issues resulting from the frustrating state of public education in Nigeria, but in his artist mind, he viewed OAU as a ‘mini-Nigeria. To prove his point, he gave an analogy of how a stage in OAU could feature Davido as a headliner, and a recent graduate of the university with an obscure name like ‘Jaido P’ as the opening act, and both artists would command an evenly-compelling crowd reaction.
It’s often understated in these parts but home-turf support is important for rappers to do well. The true advantage OAU provided Blaqbonez was access to Nigerians from diverse backgrounds and cultures as an immediate audience.
Blaq would later go on to tell an alternate story of his first big performance on campus, and how he froze mid-set in front of 5000 people while performing a song he recorded the night before. He’d been rightfully booed off stage, but that night gave him a taste of pure instant feedback. “I see first hand how these people feel about the music, and those are people that don’t even like you”, he observed. “You see a ready crowd that is accessible and you can just keep testing”.
Eliminating echo chambers is a very important part in the unravelling of BlaqBonez’s purpose. In a 2012 interview, he was quoted to have said his dad, Mr Akumefule could never picture him as a rapper. You would expect a rapper on the come up to brandish a rebellious mask, but Blaqbonez is pretty realistic about his odds “My dad had a plan for me. He has an engineering firm outside the country” the Computer engineering graduate said matter-of-factly, “The plan was to do music for a year then join him after school If I don’t make any headway”.
If you reflect his back-up plan against a mirror of emphasis on ‘testing’, you may be tempted to think Blaqbonez as an artist who will only play it safe. But the way he sees it, having a ground game is always sure to pay off, and this belief becomes more apparent as he began to talk on sterner issues.
In Blaq’s mind, being a “smart artist” in 2019 is having control, a clause his contract with Chocolate City preserves. But also because his confidence may have something to do with a self-proven ability to mark territory
A few days ago, fresh updates on the brewing legal battle between EMI and Kanye West, indicated the publishing giant is not backing down, despite West’s claim of an illegal clause in his contract that bars him from retiring. When I gingerly poked Blaqbonez about why he chose to sign with Chocolate City, considering the appeal of defying pre-existing music business structures, he responds with an inner gaze. “I feel like my movement is a wrecking ball,” he said, saying “Being signed or not signed I am still going to do what I want to do. If I am smart about what I want to do, having people around me, I can make better decisions”.
In Blaq’s mind, being a “smart artist” in 2019 is having control, a clause his contract with Chocolate City’s imprint, 100 Crowns, preserves. But also because his self-assuredness may have something to do with a self-proven ability to mark territory. Blaq has a strong track-record of contesting and winning rap-battle competitions. After winning TerryTheRap man’s zombie’s contest, and way before he met M.I, he crossed paths with Vector who set up his own King Kong rap contest as a recruitment camp of sorts for the Hennesy Artistry cypher 2016. At the cypher, Blaq took the first turn at the mic, wide-eyed and throwing hand signs, and within 8 seconds, already referenced the American Oval office, Marvel’s Mr. Fantastic, and laid well-deserved death to haters. This was 2016 before any of his old or new fans heard his current form.
“I recorded a song mid-July 2016, and after that, I was so convinced that when I put out ‘Bad Boy Blaq’, my life will change”, and like a stand-up comic waiting to drop a punchline, he added “So the project before that, was called ‘Last Time Under'”.
At the start of our interview, his lanky frame flailed down the stairs at Chocolate City’s HQ, in a white puffer jacket, and white sneakers. We’d met once a few months earlier at an industry event, so naturally, the first thing I noticed was his new look. “He didn’t tell me he was cutting his hair” his manager, Aisosa whispered over his shoulders, “I just came to the office and saw him like this” he added, confirming the radical change from dreadlocks to manic-red hair, was fairly recent (probably overnight). Blaqbonez’ hands-on process can be just as sporadic and uniquely forward-thinking.
The release of “Bad Boy”, a trap-fused single precluding his debut album, ‘Bad Boy Blaq, was the first indicator Blaq was finally growing into a market-ready artist. During our interview, he informs me he became aware of his closeness to the game a few months earlier—way before he signed a deal with 100 Crowns in December 2017. “I recorded a song mid-July 2016, and after that, I was so convinced that when I put out ‘Bad Boy Blaq’, my life will change”, and like a stand-up comic waiting to drop a punchline, he added “So the project before that, was called ‘Last Time Under’.”
In spite of the glorious runway that became more apparent after that, when I ask him for the specific song he recorded that cleared his doubts about his potential in a music career, Blaqbonez remained silent. After letting the awkwardness settle into the room, he gave a long sigh before saying “Those songs never came out”. Not only did he hold back from releasing those songs, Blaq also claims he recorded a 17-track concept album that didn’t survive the cutting floor when he got M.I’s call to join Chocolate City’s LAMBAugust campaign May last year.
In this critical quality assurance periodic testing phase, the only memorable track Blaq recalls is a little-known song called “Change Am”. After crowd-testing “Change Am” at OAU and the University of Lagos to positive responses in 2016, Blaq was certain he’d cracked the code. But he still felt the output of his song wasn’t doing the music justice, so he stopped recording altogether once again, until he met producer and rapper, Alpha, just before signing on with Chocolate City.
Meeting Alpha put him in the same room with Oxlade, another next-rated singer who Blaq reckons may be the best Nigerian vocalist since Wande Coal. Together, they created “Mamiwota”, one of the stand-out tracks from ‘Bad Boy Blaq’, and gradually, more themes for the project started to come together. A phone call from M.I, nine recorded tracks later, and the project was ready. But throwing that banger alongside thoughtful songs like “Consent”, and “Woke”, didn’t save Bad Boy Blaq from getting caught up in his parent label’s rowdy 5-album ‘LAMBAugust’ roll-out.
We never get around talking about why he decided to release a re-up version of Bad Boy Blaq, but there’s no question the seven-track serving—including three remixes of songs from the original project, and four brand new tracks—is the superior record.
The life, times and becoming of Blaqbonez mirrors elements of universal struggles rappers all over the world have to contend with: validation, self-discovery and rise to glory. In Nigeria, Blaqbonez is an immediate progression to what we have already heard from accessible rappers like YCEE, Falz and M.I. But you also get the idea, he has an updated touch that may very well place him in higher ranks of homegrown wordsmiths earlier than expected.
On “Nikes”, the crucial collaboration with prettyboydo, off Bad Boy Blaq Re-Up, a brazenly materialistic subject matter is brilliantly subverted into a gritty aspirational youth anthem. In the same vein, innocuous songs like “Good Boy” featuring BOJ and CKay and “Play” featuring YCEE, exist as highlights on the record, not just for being musical, but also entertaining.
Blaqbonez has an organic rounded idea of what it means to be a rapper with Nigeria today, which means we can expect more authenticity from him down the road. As a nod to his ever-ready battle-rap mode, perhaps, all he needs now is some contenders to rise to the occasion, so things can get a little more exciting.
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Toye is the Team lead at Native Nigeria. Tweet at him @ToyeSokunbi
Essentials: ‘Bad Boy Blaq’ by Blaqbonez
Rema Has Another Banger With Explosive “Kelebu”
The Rave Lorde has kept to his word to deliver a summer hit.
Rema has released his highly anticipated new single “Kelebu.” Early last month, the Benin-born star took to social media to promise an incoming summer release. ‘Still owe y’all that summer Banger,’ he tweeted. Weeks later, he gave more insight about the direction of his forthcoming release, tweeting, ‘Ok.. I want y’all to DANCE this summer!’
After much anticipation, the singer posted a snippet of “Kelebu” in usual fashion, promising $10k for whoever comes up with an easy dance challenge and raising excitement for what is probably about to become a dancefloor staple quickly.
The self-proclaimed Rave Lorde seemed to have favoured a more tempered approach in the last few months, opting for the sheen and soulfulness of R&B on his first two releases of the year. “Baby (Is it a Crime),” which had already taken on a life of its own even before its official release, gives Sade’s 1985 classic “Is It A Crime” an Afropop and R&B facelift, while “Bout U” sounds like it was picked out of a 2004 Marion Winans release.
With the release of “Kelebu,” Rema returns to the familiar chaos of 2024’s ‘HEIS,’ borrowing from an array of genres to create what is, without a doubt, one of his most exhilarating releases to date. Teaming up with close collaborator London and the German-born Ambezza, “Kelebu” takes inspiration from a host of regional genres like Dominica’s Bouyon and Mara, the new Street-Pop subgenre that’s recently come into prominence. There’s also strong Makossa and Coupé-Décalé influences across the track as Rema tears through the riotous beat with breakneck pace.
Whether “Kelebu” fits into a bigger picture or is the start of something new remains to be seen. You can never be too sure with Rema. He could be teasing several Trap-inspired songs one minute, and then go ahead to release a sensual R&B record the next. The Mavin star is somewhat unpredictable, and that’s part of his huge appeal. You’re not certain what comes next, but you’re seated for the ride regardless.
Listen to “Kelebu” here.
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The Locales That Shaped Our Favourite Afropop Stars
Markers of those places inevitably show up in the music of our favorite stars, enriching our soundscape and...
The concept of origin and heritage has never been more important in Afropop than right now. As the edges of the sound broaden and influences spring forth from all over, artists are increasingly taking on ambassadorial roles that see them represent the people, attitude, and ideals of where they hail from. Whether by birth or upbringing, artists are intrinsically tied to and influenced by these places where they have spent significant time socialising and soaking up influences. The markers of those places inevitably show up in their music, enriching our soundscape and furthering our collective cultural memory.
Whether it is Olamide putting on for Bariga on “Oga Nla 1” in tandem with Alhaji Wasiu Alabi Pasuma and Lil Kesh or Burna Boy beautifying Port Harcourt on “City Vibration,” we get a glimpse into these places beyond run-of-the-mill news that doesn’t offer a rounded perspective on the inner workings of the community. We are at once witnesses to communal struggles and pain via these artists’ perspectives, as well as willful participants in their ascension to musical superstardom while doing their best to hold on to their communities.
We compiled a list of some artists whose rise and continued success pay homage to the communities that raised them.
Wizkid, Ojuelegba, Surulere
It’s pretty befitting that the quintessential Wizkid song is “Ojuelegba,” a cut from his 2014 sophomore studio album, ‘Ayo’. While the singer has paid homage to his birthplace on a few previous occasions, no song venerates the Lagos suburb quite like “Ojuelegba.” Even as he made the smooth transition from national hero to global superstar shortly after the release of ‘Ayo,’ the album’s standout track continued to serve as a melodious autobiography that helps establish his roots for those unfamiliar. The song’s accompanying music video also captures the suburb’s bustling energy, as well as the unforgiving conditions that produced him. – B.A
Burna Boy, Port Harcourt
One of the many things that Burna Boy speaks with pride about is his native Port Harcourt. He constantly ensures that his city is at the forefront of his craft, dedicating songs that either narrate his experiences in the Garden City or highlight some of the social and political issues plaguing his home city. Songs like “Where I’m From” and “Ph City Vibration,” highlights from his third studio album ‘Outside,’ double as sturdy deep cuts and brief history lessons about Port Harcourt. In late 2022, the pop star also released a short documentary for “Whiskey,” detailing the environmental crisis in his birthplace. – B.A
Olamide, Bariga
No Nigerian artist is as representative of mainland Lagos as Olamide Baddo. Still, even the mainland is not a monolith, as different areas have their quirks and unique colorations. Bariga, Olamide’s neck of the woods, has been an ever-present in his music from the very beginning of his career, providing inspiration and grounding for the street-pop juggernaut who references the lessons learned and tales handed down in his hood. “Money,” the opening track from his sophomore album, ‘YBNL,’ features a bus conductor calling out for passengers to Ladilak, Bariga, forever immortalising the Lagos hood on wax. On “Rep Adugbo” from his incendiary ‘Baddest Guy Ever Liveth,’ he’s similarly unabashed about his dedication to Bariga, its inhabitants, and authority figures. Even superstardom hasn’t dulled those representative instincts: on “Supplier,” from his 2023 album, ‘Unruly,’ he’s keen to remind anyone listening that he carries Bariga with him everywhere he goes. – W.O
Asake, Lagos Island
Asake could only have emerged from the crucible of Lagos Island. There’s something about his carriage that undoubtedly suggests an upbringing in the oldest part of Lagos, and even though he doesn’t always directly reference Lagos Island, the seeds of its influence are in the margin of his work. The back and forth between Islamic and Christian motifs in his work is a legacy of the religiously tolerant culture of Lagos Island, and his slang usage reflects a stint living in the ocean-side community. Perhaps the clearest sign of his connection to Lagos Island came on his third studio album, ‘Lungu Boy,’ a detailing of his come-up story from Lagos Island hopeful to global superstar. On “Uhh Yeahh,” he sings, “Beere mi ni Kakawa,” directly shouting out the popular street in Lagos Island. Visual elements of his tour dates from 2024 also heavily featured and celebrated the streets of Lagos Island as the singer leaned into his heritage. Places like Adeniji Adele, Freedom Park, and Marina were featured, letting the world know that Asake has not forgotten his roots. – W.O
Zlatan, Ikorodu
Zlatan Ibile takes great pride in giving game to ambitious young hustlers looking to move beyond the current situation of their lives. His rise from Ikorodu hoodrat to Nigerian Hip-Hop royalty is the stuff of legend, but the stories of his woes, troubles, and sufferings in Ikorodu keenly display the relentlessness and dogged determination that saw Zlatan make a name for himself. He’s keen to reminisce on those days from time to time. On “Elevated,” off SuperWozzy’s 2021 ‘Light Of The Trenches,’ he sings, “Won fe k’enu mi gbe seh, biti church rat/ Mo moyan pupo n’Ikorodu ton ti te Shoprite,” reflecting on the lack that plagues huge swathes of Ikorodu. It’s a similar impulse that births his verse on Ajebo Hustlers’ “Dreams II,” which features a reference to his mischievous streak growing in Ikorodu. – W.O
Rema, Ekenhuan Road, Benin
If the syrupy trap-adjacent flow Rema employed on his introductory project or his incursions into diverse genres on several occasions since then have fooled you, his 2023 album, ‘HEIS,’ was a defiant reclamation of his identity as a Benin boy. To be fair, ‘HEIS’ didn’t just drop out of the blues; the Mavin singer had been preparing his audience for that home-leaning lurch since he stepped on stage adorned in a replica of the iconic mask of storied Benin royal, Queen Idia, during his first sold-out concert at the O2 Arena in London.
Reminding his audience of the painful history of British incursion in Benin, Rema set the stage for ‘HEIS,’ an album steeped in Benin-specific lore and acts of remembrance. “BENIN BOYS,” his blockbuster collaboration with Shallipopi, could not have passed the message of his origin better. Featuring a shoutout to his old neighbourhood, Ekenhuan Road, and an urge to the Oba to award him a medal, “BENIN BOYS” is a larger-than-life celebration of his city. Taken together with the rage-inducing “OZEBA,” it was a spiritual return home for one of Benin’s most iconic sons that showcased his identity for the world to see. – W.O
Seyi Vibez, Ikorodu
No one puts on for Ikorodu quite like Seyi Vibez. While the singer was originally born in Ketu, it’s in Ikorodu that he honed his craft as a skilled musician. He’s referenced his upbringing and Ikorodu specifically in a lot of his earlier interviews and songs, and it’s in that same administrative division that he put together his first show that pulled a crowd of about 200 people. The singer returned in 2023 for a free homecoming concert as a way to celebrate and give back to the community that helped kickstart and support his musical journey. He’s continued to rep Ikorodu even in recent times, most notably on his hit record “Shaolin.” – B.A
Mohbad, Ikorodu
Mohbad was one of Ikorodu’s crown jewels. In August 2023, just about a month before his passing, the singer posted a video of himself on Instagram visiting his old neighbourhood in Ikorodu. He went around distributing gifts and reconciling with longtime friends without any security, interacting organically with a community that regarded him as one of their own. He put on for his community just as much as they did for him. After his unfortunate passing, the youth rallies that were organised in Ikorodu to commemorate and demand justice for his death highlighted just how important he was to one of Lagos’s most populous hubs. – B.A
Shallipopi, Sapele Road, Benin
Even if his golden drawl and sonorous pidgin didn’t betray his Benin heritage, Shallipopi wouldn’t pretend to be from anywhere else but his hometown. That Benin heritage is in how Shallipopi perceives the world, the way he talks, and, particularly, how he approaches his music. “Obapluto,” the standout on his debut project, ‘Planet Pluto,’ features a prominent sample of Pa Monday Edo’s “Ogbaisi,” an homage to the Oba of Benin. It’s a trick he repeated on “ASAP,” off his sophomore album, ‘Shakespopi,’ sampling Alhaji Waziri Oshomah’s “Ikwekiame Nedumhe.” The chorus of his 2025 hit single is almost entirely sung in Bini, displaying the reverence that Shallipopi has for Benin – W.O.
Omah Lay, Port Harcourt
On the opener of Omah Lay’s critically acclaimed debut album ‘Boy Alone,’ he’s unequivocal about where he’s from. ‘All of the way from Port Harcourt/Water Side,’ he sings proudly, emphasising the city that shaped his music and creative voice. Throughout the album, he makes multiple other references to his background, whether it’s singing in his native Ikweere language or name-dropping neighbourhoods like the Marine Base area. In a Hypebeast interview from 2022, the singer spoke about his city with similar pride. “Port Harcourt is different from the rest of Nigeria in the way that we talk, eat– everything. It’s really different. All of that definitely influenced my music so much because it was really tough growing up in Port Harcourt, but that experience made me who I am today. I’ll never forget that or stop repping my city.” – B.A
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Best New Music: Ayra Starr Turns Youthful Swagger Into Sensual Elegance On “Hot Body”
On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and...
All year, Ayra Starr’s music, visual aesthetic, and social media presence have shown us a new version of her. She seems to be outgrowing the teenager we met in 2021, and molding her grown woman identity right in our presence. In the video for “Gimme Dat,” her second single of the year, featuring Wizkid, we see the red convertible that featured on the cover for her 2024 album, ‘TYIT21,’ and extensively across music videos from that era being blown up into a crisp. It seemingly symbolised the end of one era and the birth of “Hot Body” and everything it represents.
When Ayra was introduced, her music explored themes tied to youth and the emotional fragility that comes with navigating that period of your life. The ‘19 and Dangerous’ era showed us a self-confident teenager who was sure of who she wanted to be. However, “Hot Body” signals something entirely different. Produced by Ragee with additional input from The Elements, it’s crystal clear from the first listen that Ayra is owning her allure and agency.
Employing a rhythm that feels retro-made for a cross between GRWM prep with the girls and sweaty dancefloor shifts, her vocal delivery feels almost like an incantation. It’s seductive. She’s fully in control of your gaze and even dictates what you do with it. On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and space.
Her performance here is rife with context. Having graduated from teenage histrionics on ‘19 & Dangerous’ to the introspective, emotional maturity of her 2024 sophomore album, ‘The Year I Turned 21,’ Ayra Starr has grown not only in voice, but in message and presence. ‘The Year I Turned 21’ charted at No. 1 across DSPs in Nigeria and cracked the US Billboard 200, making her the first Nigerian female artist to enter that chart. This is a clear marker of her ascension into adulthood, and we can hear it in the music and see it in its visual accompaniment.
“Hot Body” feels like the logical next step after ‘The Year I Turned 21.’ Where that record explored vulnerability, grief, ambition, and identity, “Hot Body” distills the confidence born from that journey into a potent, sensual exhale. She’s no longer defining herself against the world; instead, she’s defining how the world should perceive her.
Lyrically, “Hot Body” is playful but bold, with just enough suggestion to feel grown and sexy without losing the thrill of young self‑discovery. Sonically, it’s sleek and minimalist, yet it’s brimming with the palpable charm of some of the best music of the 2000s–think Beyoncé and Sean Paul’s “Baby Boy” or Rihanna’s “Rehab.”
The rollout for the song matched its effortless energy. A snippet on TikTok and Instagram teased an accompanying dance to the song, and fans responded instantly, turning the anticipation into instant engagement. Capped at two minutes, it’s a release primed for our era of bite‑size virality: short, immediate, and boasting insane replay value.
Yet, what distinguishes “Hot Body” from many viral tracks is the assuredness of Ayra’s journey. She stormed charts with “Rush,” became the youngest Nigerian woman to surpass 100 million YouTube views, and earned a Grammy nomination for it–a badge of early achievement and youthful potential.
That youth is now transfigured. On “Hot Body,” Ayra embodies her new identity. What once sounded like a prophecy has become her reality: global collaborations, awards, stadium stages, modeling runways, and a major film role all fit into a broader canvas that her early self prayed for. “Hot Body” sits at the convergence of Ayra’s journey. It’s youthful swagger that has mutated into deliberate elegance; curious vulnerability solidified into mastery; and ambition shaped into ownership.
“Hot Body” is made for the dancefloor, but when you’re alone, it’s the perfect backdrop for the walk of recognition in a well-lit room as you give yourself flowers. Ayra tells us in this song that she knows who she is, what she looks like, and that’s enough.
Listen to “Hot Body” here.
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