For the longest time, CKay cut a polarising figure in the music industry. His early career was dominated by industry-wide conversations and unrelenting social media-led critique of his emotive style and where it fit within the wider Afropop plexus. Between a buttery voice tailor-made for soundtracking the afterhours and an innate knack for the softly […]
For the longest time, CKay cut a polarising figure in the music industry. His early career was dominated by industry-wide conversations and unrelenting social media-led critique of his emotive style and where it fit within the wider Afropop plexus. Between a buttery voice tailor-made for soundtracking the afterhours and an innate knack for the softly sensual, some of his earliest work didn’t channel his best qualities. Back then, it often felt like the scattered-gun effort of a creator figuring out a path to his instinctive core. Things finally seemed to click into focus on ‘CKay the First,’ his 2019 extended play that distilled his warm melodies, soft whispers, and languid take on Afrobeats into a cohesive piece – and birthed his smash hit, “love nwantiti (ah ah ah).”
Riffing off the belated global success of “love nwantiti (ah ah ah),” in 2021, CKay emerged with a vision of himself as Africa’s Boyfriend, a wholehearted embrace of his endearing interpretation of Afropop’s romantic side. If CKay’s motif was to present himself as a bleeding heart romantic, the sonics – swirling violins, tender guitar riffs, and pristine keys – set the stage; but the lyrics didn’t always follow through on that reality. If anything, the messaging often snuck hints of the toxic edge bestowed on R&B by 2010-era stars like The Weeknd and Brent Faiyaz. The contradiction between his zest for love and those darker impulses made songs like “WATAWI” and “come close” off his debut album, ‘Sad Romance,’ fascinating listens that displayed a knack for expertly dramatizing the minutiae of modern relationships.
On his sophomore album, ‘EMOTIONS,’ CKay picks up right from where he stops on ‘Sad Romance,’ completing the metamorphosis from lingering, occasionally jilted lover, to flaunting his comfort navigating contentious romantic dynamics. Where a lot of ‘Sad Romance’ was spent just inching towards the carefreeness of proposing a one-night stand or situationship, he leans fully into that noncommittal instinct on “THAT FEELING,” the opener of ‘EMOTIONS,’ warning a love interest not to catch feelings for him while promising to give her supreme thrills at every turn. CKay has always understood the emotional resonance of his Eastern Nigerian heritage as a springboard for some of his most inspired work and on “EGWU EJI,” he proclaims the beauty of African women over a relaxed blend of Amapiano’s log drums, guitars, and the Igbo oja flute. The idea for “EGWU EJI” sounds thrilling enough, but lines like, “Shey your nyash na the fake one abi na the real one,” betray the lack of emotional rigour that CKay has built his second arc on.
That misstep aside, there’s a lot of soul-searching on ‘EMOTIONS’ that shows the range of CKay’s talent. Like his predecessors in the brooding and anguished variation of R&B that took root in popular culture around the late 2010s, CKay can be paranoid and distrustful. On “RIDE OR DIE?”, he’s asking a love interest to prove the depth of her love for him while warning that he’s also distracted by his search for money. In between all of this, he’s also dodging police officers and sex workers in Lekki while out with his lover – it all feels like an epic, slightly fantastical, journey through the rowdy maze that is Lagos. “IN MY BED” feels like the spiritual twin of “RIDE OR DIE?” as CKay asks, “But is this love?” Sadly, its pace is ponderous –almost lethargic – mirroring the listlessness that creeps into parts of ‘EMOTIONS.’
Per CKay, ‘EMOTIONS’ is not strictly about love or romance. In an interview with Apple Music, he said that it was a full portrait of his life as a young Nigerian. “It’s a lot more than love on this album,” he explained. “It’s my story and my struggles, all the stuff I had to go through to get to this point. It’s basically me talking about how many battles I had to fight, even with people that I love just because they couldn’t see the vision at the time. I just trusted that it was a good fight, like fighting you in love in the sense that when you understand you’ll catch up.”
The moments that go beyond the high drama of his romantic life are few and far between but they make for some of the best parts of the album. In recent years, CKay and Olamide have struck up a great chemistry and they keep their streak going on ‘EMOTIONS.’ “VANITY” reflects on the journey that CKay has had to undergo to make a success of his musical drama. It also holds the best spurt of melody on the album that comes when CKay brings up the monumental battles he fought for his spot. “I fight my enemies / Fight my friends, I fight my family,” he affirms. Characteristically, he defers back to love, reminding everyone that, “I do it for y’all / I’m a warrior,” while setting the stage for Olamide to contribute a verse about his own come-up and the struggles that he’s had to face.
The guests on ‘EMOTIONS’ are especially memorable, sparking life into CKay’s work at different turns. On “Dorime,” Los Angeles-born shapeshifter, Ty Dolla $ign, joins CKay for an ode to their fantasy women. It’s a trilingual effort that sees both artists adopt the stylistic cadences of each other’s country for a smooth blend that is easily CKay at his titillating best. There is a bevy of groundbreaking guitar work across ‘EMOTIONS’ done by Mauritian guitarist, Mooneesawmy Devadasen. Devadasen’s work on the opening stretch of “WAHALA,” another Olamide collab, is instrumental for setting a tropical vibe that carries through the song and creates the perfect conditions for CKay’s voice to shine through with another verse by Olamide that suggests that the YBNL head is still reaching new artistic heights despite all his years in the game. Nigerian highlife duo, The Cavemen., are perhaps the best stylistic companion to CKay in Nigerian music and they fit like a glove on “ADDICTED,” complimenting his balmy flow with their raspy delivery over a soft percussive base, as they moan about being addicted to a lover.
At its best, CKay’s music represents a bold, new direction for Afropop that embraces the importance of free-flowing emotions and candour, over faux performativity. On the flip side, CKay’s weaker songs feel like dispatches from a deep abyss that maintains a callow obsession with sex and the simulation of love for the sake of a good story. “MYSTERIOUS LOVE” falls into the latter category, lacking the will and inventiveness that powered songs like “emiliana” and “Kiss Me Like You Miss Me.” When that same level of half-hearted introspection is applied to even weighty matters like getting his thoughts on self and his industry off on “THE FINAL BOSS,” it feels disjointed. The self-adulation on “THE FINAL BOSS” feels like the sort of chest-thumping brags that we’d make among friends — but on ‘EMOTIONS,’ it’s a underwhelming end to an album that promised so much but, ultimately, delivers only a narrow variety of emotions.
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.
