Review: Odunsi’s ‘rare.’
Afro-Funk debut
On his genre-defying debut album ‘rare.,’ Odunsi The Engine delivers a concise snapshot of a rising star on the brink of an explosion. Three years from its release, we take a look back at the album that changed everything.
It’s been three years since Odunsi The Engine released his kaleidoscopic genre-defying debut album ‘rare.,’ a project that’s been heralded as one of the most defining moments in his career. As one of the most enigmatic and highly debated characters in the Nigerian soundscape, the singer has kept many on their toes, eager for new releases or music snippets on his Soundcloud or even just a glimpse of his outlandish sartorial choices on social media. He’s known to cause polarising conversations with each new endeavour he puts out into the universe, with proponents arguing for and against his latest scheme with rapt attention.
However, the man himself is largely unperturbed, choosing instead to focus on the music and melodies that have earned him the continued loyalty of his core fanbase. In terms of keeping up with the demand for something new, boundless and inimitable, Odunsi The Engine is keeping abreast with the changing times, morphing himself in more ways than imaginable and shedding the skins of his past. In terms of discarding his chameleonic skin, the man is still a myth beyond the music that we hear from him.
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(@odunsitheengine)Back in 2015 when Odunsi (The Engine) made his first foray into music as a producer for Cruel Santino, his longtime friend and collaborator, the young star would never have imagined that one day he too would also soundtrack the time of our young lives. At the time, Odunsi had dropped out of formal education and was pursuing a career in music as a producer off the back of a Fruity Loops crack he was gifted by a keyboardist at his local church. Odunsi would wind up making beats for Cruel Santino and working at studios frequented by some of the most notable names in the alternative scene including DRB and LOS. It wasn’t so much that he was used to existing in the background, but more so that Odunsi never dreamed that one day this would be his current reality.
As a producer, he was able to cut the noise and keep the focus on his music but as an artist, this only became harder and harder as the singer rose through the ranks and quickly cemented himself as one of the most talented young stars in these parts. While combing through his discography, you’d discover that Odunsi merely doing his part to bring the warmth and wonder of lush and oftentimes disconcerted soundscapes to our primed ears. It’s evident that he’s not fixated on staying within the confines of genres in these parts as much as he is about heedlessly stepping over and stretching their boundaries.
In 2018, the musical soundscape in West Africa was just nearing an apex. The sheer amount of music we were receiving was vastly different, with Afropop growing at an exponential rate and rubbing shoulders with places and people around the world. At the time, frontrunners such as Mr Eazi had delivered his ebullient project ‘Life is Eazi Vol 2: Lagos to London’, a melodious album fusing elements of highlife, reggae, dancehall while Burna Boy had firmly stepped into his ‘Outside’ era with raw, unapologetic Afro-fusion sounds. The sounds emanating from the Nigerian music scene, at the time, were undeniably getting hotter and hotter by the second. Amidst these hits released by industry heavyweights, all eyes were on the new generation of Afropop hitmakers who dared to go against the norm and make music on their own terms. Names such as Odunsi (The Engine), Cruel Santino, Lady Donli, AYLØ, DRB and more, we’re constantly making rounds across social media as we watched in awe as they bypassed gatekeepers and connected directly with their millennial and Gen Z audiences. In our NATIVE 003 Rebel Issue, Odunsi (The Engine) shared that “LOS and DRB did what they did, so we could get here. Then even when Santi was Ozzy, he did what he did, so we could get here. Now all of us are coming together.” That was perfectly indicative of 2018 and the fervour of the alternative scene which worked hand-in-hand to earn mainstream success.
That same year, Odunsi made his remarkable official entry into the Afropop soundscape with a 14 track album featuring some of the scene’s favourites Davido, Santi, Runtown and Amaarae to name a few. The word “alté” was growing increasingly popular in categorising the niche of alternative African sounds as well as anyone who was defying the status quo. The scene had seen stellar releases from “Rapid Fire” by Santi featuring Amaarae, Tomi Agape and Shane Eagle, “SUGARDADDY” by Tay Iwar and “Classic” by Cash Mummy herself, Lady Donli to name a few. Despite tapping into Nonso Amadi and Tay Iwar for Afropop records like “Desire” with similar mid-tempo drums, Odunsi has always been labelled as an industry outlier. He soon became the poster boy for all things alternative and daring. This culminated in the release of the Yinoluu-produced single “Alte Cruise” which would go on to define those times and the growing online presence that these disruptors were making.
While they were first welcomed and embraced for breaking the boundaries of their creativity, the alté movement only received more pushback from the community of consumers interested in the mainstream Afropop sounds. However, sticking to his message, Odunsi was bent on changing our perception of Pop music emerging from Nigeria, and with the inspiration from Funk music he grew up on he released ‘rare’. With the aid of 80’s pop projects by Steve Monite and Oby Oniyioha amongst others, Odunsi created a standout debut album with catchy, colourful songs thus reshaping the Afropop scene, a decision we still appreciate three years down the road. Two days into March of 2018, the track rollout for his new project ‘rare’ started with the release of “Alte Cruise” embellished with a distinctly retro-inspired aesthetic. This promotional single showcased his need to defy genres, to experiment with music and visual storytelling and defying the box Afropop music was placed in. Tapping into Zamir and Santi, the trio give their take on communicating one’s intentions in relationships without managing to sound like heartbreakers.
Odunsi opens up the mid-tempo track and sets the tone as he shares his willingness to compromise for an implausible relationship “I ain’t really got what you need/but I’d be here for the night”. “Alte Cruise” was accompanied with 00’s style visuals, a compilation of videos amongst the trio and their crew spotting familiar faces like Deto Black, Ashley Okoli and more. Directed by Santi, this further cemented the simple rebuttal of all the works coming out of the mainstream Afropop scene at the time, preparing us for the stellar project that was ‘rare’. Intro track “rare” starts the album off with slow-tempo piano and guitar riffs accompanied by other ambient sounds cueing in Hamzaa’s melodious vocals. “It’s my time and nobody can tell me nothing/I told you I’m ready” a true manifestation of what was to come regarding Odunsi’s career and the bigger picture that is the general growth of the alternative music scene. Joined by D.A.P, they ride the wave of the beat, the pair harmonies and lyricism reveal Odunsi’s readiness to handle the pressure of releasing his debut album. Closing off the track is Tomi Thomas whose spoken-word monologue seamlessly eases us into the next track “falling” where Odunsi’s vocals shine over the disco-inspired beat as he sings about his love interest, Ifunanya.
While their sounds are dissimilar, it is reminiscent of P-square’s “Ifunanya”, an early 2000’s song where just like Odunsi they express their undying love for their muse. On this self-produced number, Odunsi’s production and artistic skills shine through as his soft, melodious vocals glide over the intoxicating energy resonating from the sound waves as he expresses the uniqueness of his love interest “Can’t you see I’m falling in love/No one else can make me feel this way”. He seems relentless in this pursuit as he confesses “Your mama no like me, but me I love your mama”. Similar to “falling”, “wanted you” is a disco and funk-inspired track where Odunsi takes the romantic route making use of his sultry vocals to express familiar sentiments.
Following a less optimistic route, Odunsi taps into Hamzaa once again for “take me there”, the short slow-tempo track heavy on the drums has only two verses which perfectly encapsulates his commitment to love that may not necessarily favour him, a message many of us are all too familiar with. Taking the message further after a brief introduction of Donli’s recognisable vocals is another monologue, this time speaking to the growth of the artist thus far. The mood picks up with the proceeding track “outcast” produced by Genio Bambino where Odunsi recounts the journey to stardom. Here, he candidly speaks about his time in high school where he felt like an outcast for his disinterest in formal education. Odunsi soon realised that there is power in being different and uses this to his advantage on the track. He shared with us on NATIVE 003 that despite being surrounded by the love and comfort from his family, at this time of his life he felt more alone than ever. He shared that this moment was truly a long time coming and he has no plans of halting anytime soon as he quips “Now I’m chilling with my gs and I’m feeling myself olorun”.
Arguably two of the most well-received songs on the project, “divine” and “star signs” Odunsi with the help of Davido and Runtown respectively, deliver outstanding performances and catchy hooks on the standout love numbers. At such a time, we could’ve never thought that the mainstream and the alternative would collide but Odunsi expertly delivers on both tracks, proving that he can take the sounds from popular culture and still make them his. For “divine”, while we have the smooth, mellow vocals from Odunsi and Sola King, Davido jumps into the track with his upbeat, energetic vocals and popular adlibs like “shekpe!”. The two boast of the kind of love they can provide, promising their love interest that is available as soon as they’re ready to receive it.
On the other hand, “star signs” sees a highlife-punk fusion where the pair of Odunsi and Runtown talk about the kind of girls they’re into. The hook “I’m in love with girls that like to party/Drink bacardi straight and talk about star signs” still stands as one of the most memorable ones to date. While the guitar riff by Efe Jazz is reminiscent of a ‘70s vinyl record, the bass by Kingsley Okorie of The Cavemen and the sickening production by Nosapollo transports us to an otherworldly realm where sounds exist for our listening pressure.
Taking us back with a slow-tempo track is “angel” assisted by Duendita where the pair express their love and affection to their significant other. On “take a break” however, Odunsi in Yoruba and English encourages a long-distance love to separate themselves from him, beckoning them to take a break from him. Like the Gemini he is, throughout the project, he provides many exciting outlooks and perspectives on love, leaving us wondering about his take on the topic. With collaborative numbers such as “express”, “green light” and “hectic”, we can point out a significant growth in not just in the sound and creative expression for Odunsi but with the other artists as well including Santi, SOLIS, 234Jaydaa, Amaarae and more.
At each moment in ‘rare.’, Odunsi (The Engine) is telling a story: our story. He uses his meticulous craftsmanship to tell the story of young people in Nigeria who are caught between the past and the uncertain future of our country. Stuck between two opposing worlds, he soundtracks our pains, relationships and lives using nostalgic elements from the ‘90s and ‘00s Nigerian music while also reaching for out-of-this-world Afro-Funk sound yet to be properly explored in these parts. Through funky basslines and delectable percussive and drum patterns, we’re reminded of the boy from Lagos with a dream and a mission to constantly redefine himself and carry the world along to the tune of his own drum. Three years on, not much has changed, we are still dancing to his tune which is constantly morphing from last year’s ‘Everything You Heard Is True’ and his collaborations with Zamir and MAISON2500.
Revisiting Odunsi’s genre-defying debut ‘rare.’ now almost feels like stepping into a time capsule where every song remains evergreen with each new listen. The time capsule in question provides not just a mirror to ‘80s Nigeria which Odunsi was heavily influenced by during the album’s curation but also reminiscent of a time where the singer was standing at the nascent stages of his career. Since then, the alternative scene has witnessed a remarkable growth of artists within that space as well as the introduction of many new artists that are consistently stretching the boundaries of what music from Africa should sound like.
Now, a more well-rounded artist and producer, Odunsi has stayed dedicated to the exploration of his craft, making sure to continuously experiment with new sounds and see what sticks. From “hectic” on ‘rare’ where he spotlights the talents of Amaarae, SOLIS and 234Jaydaa to DETO BLACK-assisted “body count” on ‘Everything You Heard Is True’, Odunsi still stays true to the inclusion of many talented women at his table. With more 2020 releases like “Decided” featuring Tems and “Fuji 5000”, Odunsi’s dedication to broadening the Afropop soundscape is clearer than ever.
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Skyla Tylaa Is Taking Off
For the next phase of her career, Skyla Tylaa is actively working on creating music while entertaining with...
As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was music or stage performances, she found herself exploring these interests intently from a young age. That devotion manifested in multiple ways – her attending the BRIT School and Sylvia Young Theatre School where she performed in a West End production of Annie or her fiddling with several musical instruments while she figured out her creative identity. Through it all, music was a constant, the backdrop to her home life where she grew up between Jamaican and English influences. She remembers being exposed to Drum & Bass, Funky House, and Garage. “I think that’s had a big influence in my DJ career,” Skyla Tylaa admits.
Progressing into adulthood, those musical influences persisted even if she didn’t always engage with them professionally. Things changed when she started DJ-ing during the COVID-19 pandemic. Possessed by a visceral desire to experience the euphoria of interacting with people through music, she burrowed deeper into DJ-ing. “I couldn’t be in my room and just have people commenting,” she recalls. “I need to see people’s energy, and feel everything in the moment.”
Since then, she’s enjoyed a meteoric rise that has taken the world by storm. Mentored by DJ Tunez, she performed multiple times on the American leg of Wizkid’s ‘Made In Lagos’ tour and came out of the experience raring to go. “Opening for Wizkid on his tour was a transformative experience,” she says. “It taught me a lot about resilience and adaptability in my craft. I was still pretty much a start-up DJ when I went on tour and it made me really realise how important it is to connect with the audience. Touring from city to city with different crowds, it helped me to learn how to read the room and keep the vibe going.”
Almost as importantly for Skyla Tylaa, Rihanna was present at one of those tour stops and was impressed by her set, stopping by after the show to congratulate her. “After that I felt like I could conquer the world,” she says. Since then, she’s been selected by Rihanna to DJ at a Fenty X Puma Creeper launch event in London in 2024, marking a full-circle moment between the women.
Like Rihanna, Skyla Tylaa is inspired by music from the breadth of the Black diaspora, playing sets that take as much influence from the fervid restlessness of Hip-hop as they do the wavy melodies of House music, and the dancefloor summons of Afrobeats “I love partying! I genuinely love it,” she explains. “When preparing my sets, I’m always thinking of people having a good time. Whatever I can do to connect with them, I’m down to do it!”
In the last few years, few genres have shown the propensity for inspiring a great time with the regularity that Amapiano does. From Johannesburg to Windhoek, to Lagos, London, and New York, the log drums and mutating basslines of the genre have proven integral to a new Pop framework that is as amorphous as it is exhilarating. Since first hearing the genre while on a visit to Ghana years ago, Skyla Tylaa has been hooked. “It was the log drum, the sound, just the vibes that came with it,” she says. “I was like ‘wait – what is this?’ When you hear Amapiano, it’s one of those sounds that no matter what, you’re gonna dance.”
Diving into the genre, she’s picked up valuable lessons from important figures like Maphorisa, Uncle Vinny and Major League DJz while putting her youthful spin on the sound. It’s all coming together for the DJ who’s working with her sister, music heavyweight Jada Pollock, to figure it all out one step at a time. “When I found my passion for DJing, Jada was right there, urging me to dive into the ‘Made in Lagos’ tour,” she says. “I wasn’t sure I was ready, but she believed in me and knew I could handle it. My love for music has been with me since school; it just took some time for me to realize that this was the direction I wanted to pursue. Once I found my calling, her support became endless–she attended my early gigs and pushed me to perform at major festivals like Afro Nation.”
She’s since performed at leading festivals such as Wireless, Piano People and Australia’s Promiseland as well as selling out headline shows across London, London, and Ghana. For the next phase of her career, she’s actively working on creating music. This month, she released her debut single, “Bombshell,” a searing Amapiano banger that has all the hallmarks of a potential summer hit. “Bombshell” features Tanzanian Bongo Flava act, Diamond Platnumz, as well as South African acts, Tyler ICU, Khalil Harrison, and DJ Exit. It’s a blockbuster showing that sits well in the tradition of the genre. “The idea was initially played to me by Tyler ICU in March 2024,” Skyla Tylaa says. “He and I had a session while he was in London, and this was one of the ideas we worked on. Khalil was already on it, at the time, and I loved what I heard!”
After seeding it into her live sets last summer and starting live teasers with a dance challenge, Diamond Platnumz reached out about potentially working on the song and it was arranged. “I started teasing the new version of the song in my sets and then a whole new viral dance challenge came about online in December,” she says. “From that point, I knew the track had all the elements (features included) to be a big release in 2025 !” For DJ Exit, a chance to be part of a transformative song like “Bombshell” was an opportunity he didn’t want to pass up. “What drew me to this single was the chance to be part of something boundary-breaking,” he explains. “Gqom and Amapiano are both powerful in their own right, but fusing the raw, percussive energy of Gqom with the soulful, hypnotic swing of Amapiano creates a sound the world hasn’t fully experienced yet. This isn’t just another collaboration–it’s a cultural statement.”
The Xhosa word, ‘basazomangala,’ meaning ‘to be shocked,’ is uttered several times on “Bombshell,” and it reflects the message that Harrison was trying to pass on the track. ““Bombshell” is really about letting people know that there’s still so much more to come from me,” he says. “It’s a celebration of the present moment, but also a reminder that this is just the beginning. We’re all dancing to what’s happening now, but there’s an energy in the air that says the best is yet to come.”
In light of Amapiano’s rise to global prominence and the international acclaim it enjoys, Harrison is right about more things being on the horizon, and Skyla Tylaa agrees with him: “When I was introduced to Amapiano, I fell in love instantly and that time it was just on the verge of global appeal. It’s global now and still growing and that makes me appreciate it even more! I love it, and the world loves it! The feeling is mutual ! We can all enjoy it together!”
For Tyler ICU, having DJs from the diaspora like Skyla Tylaa engage with Amapiano and its culture is a win for the genre. “This shows the power of the genre–it’s not just a sound, it’s a movement,” he says. “When someone like Skyla, who appreciates the culture and brings her own flavour, plays Amapiano in places like London, New York or Toronto, she’s not just playing music, she’s building bridges. That’s how we grow–by letting the world feel it in their own way, but staying true to where it started. It’s important that the roots are respected, but the branches can reach far.”
Just a couple of weeks since its release, “Bombshell” has crossed over 650,000 thousand views on YouTube and continues to be a sensation on TikTok. Like everything Skyla Tylaa has done up till now in her career, it’s shaping up perfectly and has shown that she has a knack for the right collaborations. She intends to keep making music. “This year, my focus is all about music,” she says. “I recently signed with Robots and Humans (Sony) in the UK and Epic in the US, which has given me a different level of drive to really want to create good music. I’m also looking forward to exploring the Afro-house genre and collaborating with other talented artists.”
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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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