Tems’ story is one many would agree was written in the stars. Not just for how seamlessly she forged a path to global stardom, but also how she seemed to arrive long before she got started. Only in stories like hers do words like “destiny” or “fate” arise to describe a trajectory so against the grain yet so inevitable, many struggle to register the colossal shift till it is much too late.
And as the world sat in eager anticipation for the glorious album debut from the R&B singer-producer, a slew of unbelievers rose to the surface to stir the pot around Tems’ talent or, according to them, lack thereof. Even though it would be easier to dismiss all sceptics as trolls, a more candid resolution lies in the reality that not many parallels – if any at all – in Nigeria’s music history can be drawn to Temilade Openiyi. Since quitting her corporate job in 2018, per a life-changing message she received from her daily devotion, to deliver one of the most promising R&B debuts of the decade, no amount of doubt can discredit the fact that Tems is currently fulfilling her life’s purpose.
While the rest of the world first caught wind of the unrivalled force that is Tems via a stellar performance on Wizkid’s “Essence,” back home, she had already scored points as an artist to watch when she audaciously declared herself the leading vibe in 2018’s “Mr Rebel.” Still, it wasn’t until “Try Me” – a striking embodiment of her emotional yet gritty artistry – that Tems slowly began seeping into mainstream listeners’ consciousness, later earning her a small cult following that set her up to invigorate what was then considered popular Nigerian music. Six years, an RCA record deal, two EPs and now a debut album down the line, it’s safe to say that Tems has done just that, and much more. When cataloguing the string of accomplishments under her belt, one might first think of Tems’ role as a peerless collaborator – and understandably so. Recruitments for Beyonce’s ‘RENAISSANCE,’ and Drake’s ‘Certified Lover Boy,’co-writing duties with Rihanna or even the Grammy-earning “Wait For U,” are accomplishments that would be criminal to glaze over. Still, ask any of the Nigerian women in Tems’ Rebel Gang and they’ll tell you that international stardom isn’t the reason they love Tems; for many, it’s the nuanced way she voices the stories of a generation that often goes unspoken for that truly makes us love her.
Following the titular track of her debut album, ‘Born in the Wild,’ Tems’ mother hops on “Special Baby(Interlude)” to emphasise just how fated her journey has been. Over melancholic piano chords borrowed from the intro, we sit in on an undiluted conversation between mother and daughter, where Tems’ mother highlights just how ordained the superstar’s journey is. “They keep on asking,“why Temi?, why Tems? Don’t they have another person again?/They themselves do not know why, they can’t understand it,” her mother laughs, recollecting the words of naysayers who are perplexed by the force that is Tems and the support she receives. Tems’ mother encourages her to push all the doubt aside, because she was born to do this. Tems’ own sentiments, however, are easily reflected on “Born in the Wild,” the perfect introductory insight into her headspace at the start of her journey, and all the obstacles she had to overcome before getting here. Silky guitar strums reiterate her evidently burdened spirit, casting a light on her need to conquer but by the end of the track, she arrives as assured as her mother singing, “The world…is mine and the time…is now.”
Dreamily reminiscent of her introduction to the scene, “Burning” delves deeper into both external and self-inflicted pressures, set alight by an unbridled desire to succeed. The track acts as a mirror to her emotions and state of mind, aptly reflected in our 2020 cover story for The NATIVE’s Print Issue 4 where writer, Damilola Animashaun, described her as one who has “unlocked society’s cage and set herself on fire to light the way for a new vanguard.” Tems was, and still is, the girl on fire. But now more than ever, she is the perfect embodiment of just how far a fiery passion and an introspective approach to life can take you. “Burning” gives Tems the first opportunity on the album – later seen on “Ready” – to communicate just how badly she wants her story to be one of actualised dreams, while snagging production credits with assistance from Ghanaian producer, Guiltybeatz. The pair, whose combined talent is the undeniable backbone of the album’s production, further establish themselves as a dynamic duo after transporting us to the dancefloor with “Wickedest.” The track starts withMagic System’s global crowd pleaser, “1er Gaou” instantly uplifting the atmosphere, shortly followed by groovy basslines reminding us that R&B can have you up on your feet. She holds a composed tone with a sheer effortlessness that alludes to her laser focus on the grind, paired with an unshakeable confidence that her visions, however brazen, will be actualised.
The beauty of art, especially music, is its reinstative power. From sampling to interpolating, music draws references from the past to inform the stories of the present, intensifying the shared experience of the human race. When done right, we get badass anthems like “Wickedest” or the refreshing, reimagined version of Seyi Sodimu 1997 cult classic of the same name, “Love Me Jeje.”An evocative ode to her roots, Tems turned to one of the country’s greatest canonical love songs to soundtrack the official beginning of the journey to her debut album. Her interpretation was an instant favourite, building ammo for her hit-making abilities and versatility, clearly hinting at an exciting run that has only just begun. Tems is backed by her close-knit team, including her personal stylist and friend, Dunsin Wright, for a playful outro of the track. “Gangsta,” though it takes a rougher, more melancholic approach, doesn’t fall too far behind on the album’s successful reference pulls with its subtle Diana King interpolation. While the original, “L-L-Lies,” chronicles the story of a woman despondently confronting her partner’s infidelity, Tems comes in guns blazing “That’s why, that’s why I need a gangsta, That’s why, that’s why I need a bad one, That’s why, that’s why I need violence.” She clearly states that any attempts to dim her light will never go unnoticed, stressing that her circle only has room for genuine people.
As the intoxicating Amapiano melodies of “Get it Right” arrive,we’re fully abreast with Tems unrelenting hit-making abilities, spurred on by an experimental approach to her craft; and who better to enlist than seasoned vocalist, Asake and superstar producer, Sarz. Though Mr Money’s enchanting delivery is commendable, instantly making “Get it Right” one of the album’s earworms, he is well within his sonic comfort zone so a solid verse simply was to be expected. It is Tems’ ability to glide over the heart-thumping log drums and dazzling shakers, however, that leaves the track stuck on instant loop. She gracefully rides the wave, boldly expressing her desires for and commitment to her love interest, “All the boys dey on dnd, so you know what you mean to me.” A clear standout already, it helps that Asake comes armed with charming lines like, “You dey do me one kind, shey me I no go die/This your body like coke, too bad, maka why?”
The album’s tone takes a sharp turn with pensive strums on “Unfortunate,” where she expresses indifference to a love interest that treated her poorly but is trying to re-enter her life. Rather than seeing the unfavourable treatment as a reflection of herself, Tems knows that she’s too young to be hot and bothered, pointing back to the album’s overarching theme of self-empowerment.
In many ways, Tems has found the sweet spot between being unbothered and having moments of intense fixation that linger in her subconscious. “Boy O Boy” deals with the dissonance that comes with navigating those opposites while seeking resolution on her feelings. Her brain recognises that a love interest is no good for her but her heart is willing to give him another chance. “Hold me in your mind/Before I leave you on the streets,” she finally warns, seemingly deciding to focus on elevating her best self. Where “Boy O Boy” was contemplative, “Forever” is more boisterous as the singer moves assuredly over the magnetic DameDame and GuiltyBeatz-produced instrumental. Her delivery is also loosened in a way that recalls some of the ‘90s most classic post-heartbreak excoriations. Where those songs came from a place of deep-rooted passion, Tems is operating with resolution on “Forever.”
Since coming onto the scene, Tems has been a critical part of an innovative generation that has upended any traditionalist definitions of Afropop, and ‘Born in the Wild’ takes things up another notch, prioritising free flowing self-expression over conformist formulas. The J Cole-featuring“Free Fall”sees her dial in for a candid look at what happens when reality doesn’t match expectations. Tems is not a fan of lingering when she’s not getting what she wants and pointedly states that she’d rather be alone. It sounds like wisdom accumulated from a lifetime’s worth of navigating near-relationships that don’t quite work at the end of it all.
It was always an ambitious gambit to turn in an 18-song album, and there are moments when the sequencing on ‘Born in the Wild’ can be jarring, perhaps intended as a means to spark some life into the listening experience. There are other points where it feels like two songs were mixed together as one, as it does on “Turn Me Up.” The opening half sees Tems sing-rap about the state of the world and her place in it before settling into a pidgin-accented verse that sees more big-talking from the singer. It all feels like an attempt by Tems to stake her claim as one of her generation’s most well-regarded singers but it lacks the gritty appeal of an old classic like “Try Me” or the emotional lucidity of “Wickedest.” It’s a rare misstep that’s quickly corrected with the pre-released “Me & U.” Part faith hymnal and part love declaration, “Me & U” feels like a salve for tough times that could only have emerged from the deepest reservoirs of Tems’ consciousness as she weaves her personal convictions on love into her adoration for a larger-than-life divine figure that she clearly craves a closer connection to. It all works wonderfully for one of the album’s highlights.
Long-time listeners of Tems will have long worked out that she’s a fan of Hip-hop with the singer occasionally dipping into the genre for musical inspiration. Over a boom-bap instrumental on “T-Unit,” she pays homage to the genre and her own resilience. “Never surrender/Never afraid,” she tantalisingly raps about her journey. The secret genius of Tems’ music has always been how she uses her experiences as a map for her listeners looking to find themselves; it’s a task she takes quite seriously as evinced by the closing stretch of “T-Unit” where she breathlessly sings, “Throw your hands up, let me hear you say, ‘Victory until the death of me,’” as though delivering battle-time motivation to her weary troops.
Album closer, “Hold On” is similarly an admonishment. Anyone even faintly familiar with Tems’ story knows about her quitting her job at a digital marketing to start an improbable career in music. It’s been a whirlwind six years since her debut song came out and she’s now using her journey to urge her audience to hold on to their dreams however hard that may be. Perseverance is a theme that’s constantly returned to across Tems’ debut. “Do it crying, but fucking do it,” one of her managers admonishes her on “Voices In My Head (Interlude).” It’s what Tems has been doing since she sang her heart out all those years ago on “Mr Rebel.” Now, it’s time to recount the cost of her swashbuckling journey. With ‘Born In The World,’ Tems opens up a portal to her soul; tracking a meteoric rise to global superstardom, her triumphs over self-doubt and a complex journey to accepting, and as she does that, this is her moment.
Raised in a culture that – for better and worse – prioritises a dignified response to pain, the language...
Wizkid doesn’t really let anybody in. Throughout his decade-and- a-half stint at the top of Afropop, he has...
Wizkid doesn’t really let anybody in. Throughout his decade-and- a-half stint at the top of Afropop, he has mostly maintained that position by the sheer force of his personality and an intuitive knack for rhythmicity that borders on superhuman. Even when he was reflecting on the socioeconomic pressure that served as fuel for his breakthrough on tracks like “Oluwa Lo Ni” and “Wad Up” off his debut album, ‘Superstar,’ he was not so much excavating the trauma of his past as he was pointedly detailing the profound difference in his new reality, afforded him by his musical success. Across his stacked catalogue, we have seen Wizkid sing about his fascination with pretty women, cash, cars, and the flyest outfits without really understanding what lies just beyond that material surface with the rare exception of when the singer mentions his mother.
‘Ayo,’ his second album, has two specific mentions of the singer’s admiration for his mother. “Mummy Mi,” produced by Spellz, is a mid-tempo dedication to his mum’s sacrifices and the redemptive nature of her love while “Joy,” placed near the end of the album offers some more context on the relationship between Wizkid and his mother. It’s a soulful dedication to the bond they shared and a reminder of how Wizkid’s arrival into his mother’s life in 1990 brought so much joy to his family. “In the early ‘90s, that was the beginning, mama had me, she was definitely happy,” he sweetly sings atop the rasping Dokta Frabz-produced instrumental. Literally translating to his given name, Ayo, “Joy” was a wholesome glimpse into the inner workings of Wizkid’s life that has not been replicated since then as the singer took his campaign global with albums like ‘Sounds From The Other Side’ and the widely-lauded ‘Made In Lagos,’ a more refined version of the R&B flow used in the opening section of “Joy.”
In August 2023, news broke of Wizkid’s mum’s passing, prompting a groundswell of public support for the singer who has leaned very publicly on his mum for support throughout his career. As can be expected, Wizkid retreated from the public eye to process the loss and grief with his loved ones in private. Since then, the monumental scale of his mother’s death has become apparent for anyone following the singer. As part of the schedule of ceremonies to celebrate her life, Wizkid spent some time in Lagos where he revisited his old haunts and made a N100 million donation in his mum’s memory to kids in Surulere. “IDK,” a standout off ‘S2,’ his December extended play was made following his mum’s death according to the singer and it wrestles with the weight of his loss in its margins.
Raised in a culture that – for better and worse – prioritises a dignified response to pain, the language of grief that Wizkid employs is layered and textured. But, for anyone that’s listening, the signs are abundant. “Tough times don’t last but tough people do, we go stand tall,” he morosely sang on “IDK,” hinting at the pain he was battling before yielding the floor to Zlatan. On her first posthumous birthday, Wizkid wrote a note to his mother on social media: “Happy birthday, love of my life! I miss you every day,” he said. “The first one without you here feels unreal. Nothing makes sense without you, mama! Life is empty without you. Continue to watch over us! My heart is broken forever! Love you, love you, MORAYO mi. Your smile is a memory I will never forget. Your laugh! Your hugs and kisses. I miss you dearly!”
Not long after, he revealed that his next album would be titled ‘Morayo’ in her honour, calling it the best album he ever made. While the jury will remain out on where ‘Morayo’ will rank in his discography for a while, it’s the fullest fusion of all the styles that he has experimented with across his career, building a link between the percussion-led Pop bombast of his earlier years, the Dancehall-inflected crooning of the ‘SFTOS’ era and the orchestral R&B style that he has worked with for much of the last five years.
Even when it’s not referenced directly, the sorrow that Wizkid feels at the passing of his mum is a near constant, with her presence never too far away from his mind. On Morayo‘s opening track, “Troubled Mind,” there’s an immediate signpost that this album was designed to be a final farewell to a central figure in his career. The song opens with a section of Fuji legend, KWAM 1’s, set at Wizkid’s mother’s burial, welcoming listeners to his sixth album with words of comfort, while Wizkid’s own lyrics sound disconsolate as he finds escape in hedonism. “Say the blood for my eyes and the pain for my mind, mo le salaye,” he sings after KWAM 1’s stretch ends.
For 33 out of his 34 years on earth, Wizkid had his mother in his corner to work through some of the most knotty moments of his life; and for the first time, he’s having to navigate loss without a central part of his support system. The sense of unease bleeds into his music and there’s a real sense of desolation in how he constantly sings, “I got a troubled mind,” even if it still ends with an acceptance of his loss and a request for a shot in memory of his mother. Even for the biggest of stars, grief is an unending spiral that can creep up on the most unexpected moments.
In Yoruba cosmogony, the death of elders is seen as an opportunity to celebrate their lives and the impact they have made on their loved ones and community. In that regard, the burial ceremony for Wizkid’s mother was a celebration for the ages with a selection of stars, well-wishers, and institutional figures joining the Balogun family last year to bid her farewell. Something about his mum’s passing and Wizkid’s time in Lagos last year has made him return to the lively percussion of his youth in a way that he’s not really explored since ‘Ayo,’ the album housing “Mummy Mi” and “Joy.” Songs like “Karamo,” “Kese,” and “Bend” are straight out of the playbook of the sweltering bangers that Wizkid used to churn out steadily as a youngster with a point to prove as his mum urged him on to superstardom – even if they don’t possess the same pomposity of the original. With his mum gone now, these songs on ‘Morayo’ function as a key to remembering simpler times when his current heights were dreams that he was reaching out for.
Perhaps the most emotionally resonant moment on ‘Morayo’ arrives on “Pray,” the record’s closing song where Wizkid finally directly confronts the elephant in the room. Opening with a story of his struggles as an up-and-coming act, he recounts his mother’s words to him in those tough times: “Mama call me, ‘Ayo Balogun, they can never find another you.” It’s a moment that plainly shows the depth of love that Wizkid and his mum shared, and how her affirmations shaped his career as he went on to become one of the most defining artists of his generation. Later on “Pray,” Wizkid will add, “I know my mama pray for me / And I know the heavens dey for me.” Even in death, the singer is assured of the bond they shared, and we are all public witnesses to that love even if he won’t let us into his life totally.
Featuring Rvdical The Kid, Onoola Sama, Godwin and Kyla
As the year draws to a close and we look back at some of its best music, there’s no denying how much of...
As the year draws to a close and we look back at some of its best music, there’s no denying how much of 2024’s soundscape was powered by fresh, audacious voices from across the continent who were willing to take chances, step outside of the creative boundaries of their predecessors and carve out their own unique lane in Africa’s music scene.
Take Godwin, the Kaduna, Nigeria-born singer whose deep, introspective records have not only resonated with listeners of his own music, but with moviegoers as well; or Onoola-sama, who continues to build a cult following with her eclectic but recognizable sound throughout her steady climb to stardom.
Rvdical The Kid, whose free-flowing melodies speak to his global influences is just another example of the direction that African music is taking these days – distinct in its own sound, but still having multiple entry-points for any listener. And Kyla Blac, for her part, brings her soulful creations to life with the confidence that many seasoned artists still seek to find in their music. With voices like these leading the way, there’s a lot to be excited about over the next year in African music.
Onoola-sama
For fans of: Moyoswrld, Len, DEELA
It’s hard to put your finger on the kind of music onoola-sama makes. In her Spotify bio, she describes her music as “super cool fun hot sexy music” – and while that’s fairly accurate, it does not adequately capture the breadth of her hugely imaginative sound. The Toronto-based artist is a genre-agnostic shapeshifter who tinkers with some of the decade’s most prevalent and obscure subgenres like Vapor Trap, Alt-R&B, Shoegaze and even blown-out Bedroom rap to create a kinetic fusion with a foot in almost every corner of today’s internet. While her earlier releases like “tangie’reen,” “magenta” and her 4-track debut ‘ode2me’ were all characterized by ethereal, dreamlike production and delivery, 2022’s boisterous “B1TCH3S!” quickly dispelled any notions that onoola-sama could be tied down to a specific genre or sound.
If her initial releases showcased her wispy vocals and melodies, “B1TCH3S!,” which came in late 2022, proved she is just as compelling spitting cutthroat bars over animated beats as she is singing emotionally-charged tunes. Her varying styles all came together on ‘i want what i want,’ her second official project which came in 2023. While the project is also buoyed by eerie production, onoola-sama swaps out some of the melancholic autotuned singing that defined ‘ode2me’ for raging growls about convoluted relationships, drugs and designer clothing, highlighting her versatility and willingness to experiment.
In 2024, onoola-sama’s desire to constantly play with sounds has not diminished in the slightest. After releasing a few successive singles – “myheartbreakparty,”“BRASH,” and “onoola-chan” – through the year that further explored her “super cool fun hot sexy” sound, she released the Soca-inspired ‘fujiBouyon*’ in September. The 3-track pack that takes huge influence from Dominica’s Bouyon music melds frenzied dancefloor energy with some innovative rapping and singing. “fêteRock*,” the standout track on the single pack is an incredibly infectious banger that features a brilliant and fun verse from rising rap star DEELA and begs for the meanest waist whine. “tequila, gin & rum,” onoola’s latest release sees her take another sonic excursion, this time experimenting with other alternative Hip-hop sounds and proving time and time again that she’s not one to be boxed in. -B.A
Rvdical The Kid
For fans of: Odunsi (The Engine) and Tay Iwar.
Look past the sonic abstractions of Rvdical The Kid’s music and there’s a warmth just beneath the surface that hints at a deeper vibrancy. Influenced by Hip-hop but not allowing himself to be limited by its stylistic components, the producer and singer’s music draw from a wide pool of sources that includes Jazz, Shoegaze, and Neo-R&B. Born in Nigeria, and raised in Benin and Baltimore, Rvdical’s music distills distinct aspects of those cultures into a style that’s refreshingly unique and enjoyable while prioritizing self-expression. “I’m definitely global,” he said in an interview with Floor Mag. “I feel like I allow all those parts of myself to express themselves naturally without putting too much thought into it. “I have so many influences so being more of a musician, I feel like I’m a sound curator.”
Rvdical’s preference for free-flowing creation is evident in the unhurried groove of his music and how it rarely follows a defined structure. The instrumentals are orchestral and self-gratifying and the vocals can be fizzing whispers or booming utterances, depending on what Rvdical feels like. He first made an introduction with his 2015 album, ‘Carte Blanche,’ a celebration of freedom and non-conformity that packed skeletal instrumentals, soulful ballads, and dancefloor summons in just seven tracks. Opener, “Miles Away,” pulsates with the essence of being disconnected from the world while the Maesu-featuring “Dopamine” is a lo-fi affirmation of feeling as good as can be.
Just as he emerged onto the scene with a certain mystique, Rvdical retreated for a while before emerging in 2020 with a new extended play titled ‘Little Planet.’ Just like ‘Carte Blanche,’ it’s a beat-led effort with more colour splashed across its runtime, a legacy of his return to Ghana after completing a degree at the University of Maryland. “One thing I do know is that since moving to Accra my sound has become more open, and I would definitely blame the sun for that,” he said in an interview with Asbo Magazine. “Because you can’t be hot and depressed in the sun, so melodically, harmonically the music just naturally becomes brighter.” Whether collaborating with ‘TAYDK’-era Amaarae on the ethereal “Nasa” or Nonso Amadi on “Often,” ‘Little Planet’ offers a unique spin on his electronic style that hints at mastery. – W.O
Kyla Blac
For fans of: Amaeya, Kold AF & Qing Madi
After only a couple of features, Kyla Blac made her debut with a 4-track EP, arriving seemingly more confident than most. Although ‘Only A Minute’ leaned in the low-fi direction, stacked with brief tracks and fleeting messages, Kyla’s soulful vocals are hard to miss. From “Unapologetic,” which offered a glowing Pop-leaning soundscape to “Find Ur Way,” geared more towards R&B while presenting her lush chords over a rhythmic balance between singing and rapping, Kyla Blac is clearly comfortable in her musical lane. After that, the Zimbabwean native took a step back only to return three years later with “PROBLEM”. The Murphy Cubic-production featured daunting piano keys and a reverberating bass where Kyla bitterly reminisces of a previous relationship.
Still, her moment feels like it has only just begun with more refined tracks like “Some Day” under her belt. The Neo-Soul contribution features her infectious vocals stretched across various notes, briefly creating an illusion of multiple voices. She talks about chasing success like there’s no tomorrow and remaining motivated by her responsibilities and support system; “Keep going till I break the chain, too many eyes have prayed for it,” she sings. Thereafter, she joined Sylent Nqo for a heartbreak anthem dubbed “Good One” and Afro-pop number “Energy ” assisted by Da_Kudu and Kbrizzy. For all those ruled by love and searching for those with similar perspectives, look no further than Kyla Blac for all the anguish and buoyant thrills of romance. -N.I
Godwin
For fans of: Asa, Jacob Banks, Dwin The Stoic
Born and raised in Kaduna, Godwin’s music is characterised by his familial experiences, producing what can best be described as kinfolk music. His debut EP, ‘Road to Nirvana,’ released earlier this year, is a tapestry of lived experiences, marked by loss, love, and resilience, with his riveting vocals weaving a fabric of warmth and relatability.
Long before turning to music, Godwin was a celebrated filmmaker and the founder of The Critics, a Kaduna-based film collective popular for its DIY sci-fi films that gained local and international attention from big names in film such as Morgan Freeman. This filmmaking background is evident in Godwin’s lustrous ability to paint evocative emotional landscapes through his lyrics and melodies. Listening to his music can sometimes feel like watching an indie film — raw, authentic, pulsating with emotion and rich with storytelling. This cinematic appeal is one of the most distinct cornerstones of Godwin’s artistry. His latest single, ‘Blood for Blood,’ was featured by Paramount Pictures as one of the soundtracks to the 2024 thriller, ‘Gladiator 2’. The core of Godwin’s artistry is the intimacy across his music, that can be likened to a heartfelt conversation with a close friend. Tracks like “Proud of You” and “Now” from ‘Road to Nirvana’ are rooted in universal themes of self-discovery and grief, earmarking his unique ability to turn deeply vulnerable moments — such as the loss of his mother — into sing-along rhythms.
The 23-year-old expertly blurs the lines between Folk and Alternative music, using minimalist instrumentation, often led by acoustic strings and piano, to set the stage for his spell-binding stories. Ultimately, Godwin’s art isn’t just about the music; it’s about a shared connection with the listener through relatable experiences. Fresh off opening act duties on the European leg of Tems’ ‘Born In The Wild’ tour, and a feature on the soundtrack of the blockbuster, ‘Gladiator 2,’ Godwin is undoubtedly one of the most promising emerging talents today. With a pristine blend of filmmaking and music, the Kaduna native’s art stands as an invitation to feel deeply, dream boldly, and embrace the beauty of shared humanity. – J.F.
For almost a decade, Apple Music’s Up Next Program has helped spotlight a new generation of emerging...
For almost a decade, Apple Music’s Up Next Program has helped spotlight a new generation of emerging talent, exposing them to a larger audience. The program’s alumni includes a class of dazzling acts including Rema, Burna Boy, Tems and more. Since their expansion to Nigeria in 2021, the global artist initiative has consistently presented a roster of the most promising emerging talents from this side. Following his double-feature release, Neo-Soul singer and songwriter, Rigo Kamp, serves as the latest addition to the program.
His 70s inspired funk debut dubbed ‘Summer/Morning Sun’ displayed Rigo’sirresistible magnetism and charisma over the locked groove of a Disco-inspired beat, alongside an infectious Soul and Jazz blend which scored production credits from Alté pioneers, Odunsi(The Engine) and GMK. Regarding the program’s feature, coupled with a glowing appearance on the accompanying playlist where he sits amongst the likes of FLO and Bree Runaway, Rigo shares:
“The little boy in me sees the man standing before him now as the Apple Music Up Next Artist for Nigeria and is proud… It’s a special day for me and everyone that has worked with me over the years.”