Review: ‘The Year I Turned 21’ by Ayra Starr
she makes a case for multiplicity, sonic mastery and global domination, and she emerges victorious.
When we first encountered Ayra Starr, she gripped a yellow solo cup and stood amidst a wall of colored stickers, as though she were a clipping in a scrapbook. Her self-titled debut, the ‘Ayra Starr’ EP, unveiled an act as fresh as air, whose ethos was youth-centric without pandering, whose feel was girl-next-door to the core, and whose sound was wistful in a way that we had hardly before heard. With the whimsical romance of “Sare” and the unrelenting yearning of “Memories,” she offered lyrics that carried so much youthful sincerity, one could imagine that she had hand-written them in a sticker-filled journal, sprawled across a tastefully disheveled mattress with her legs crossed in the air. Her debut project may have dropped on the same evening that she was officially announced as Mavin Records’ newest signee, but the masses did not require much convincing. In a single night, a star(r) was born.
Her airtight branding was, in part, the product of over a year spent in Mavin’s artist development academy, but it was also a direct reflection of Ayra’s irresistible allure. Following the success of her 2021 debut, she quickly morphed from local phenomenon into a continental and global flagbearer for Nigerian music. Her debut album, ‘19 & Dangerous,’ cemented her role as a Gen-Z sounding board, with its mega-hit “Bloody Samaritan” marking a shift: Ayra Starr could make soulful bedroom Afropop, and she could make global hits, too. The likes of “Sability,” “Commas,” and “Rush” have hauled her name across borders, the latter securing her a coveted Grammy nomination in this year’s inaugural Best African Music Performance category. Her global reach is clear, as her three-year career has seen her secure features from around the world with Tyla, Kelly Rowland, David Guetta, Morocco’s El Grande Toto, and most recently, Puerto Rican reggaetonero Rauw Alejandro. The artist who was once a girl-next-door has formally evolved into a global brand that cannot be restrained; and this year, she is officially coming of age.
The Year I Turned 21, Ayra Starr’s newest project, seems to chart the artist at a pivotal turning point; one that sees her, literally, come of age, and figuratively, step into a new era of superstardom. “Birds Sing of Money,” the project’s intro, encapsulates this shift, beginning with warbled praises from a Fuji vocalist before Ayra proclaims that she “runs her city” and that “money makes the rain come.” The track presents a marked shift from the ‘19 & Dangerous’ intro “Cast (Gen-Z Anthem),” which opened with an introspective Eartha Kitt quote and encouraged youth liberation. With its emphasis on dominance, “Birds Sing of Money” instead positions Ayra as its focus, proclaiming her power to be limitless.
Its focus on money unintentionally alludes to mounting commentary about Ayra’s pop offerings, and how their seeming emphasis on commercial success creates a stark contrast with the thoughtful musings that defined her in her debut EP. “Birds Sing of Money,” however, seems to provide a response to this sentiment: her sonic evolution is a testament to her unending starpower, and as such it cannot be stopped. In her own words, “I don’t watch my tone / because I like how it sounds.” While the song is not as strong sonically as its predecessor on her first album, it appropriately primes audiences for the slant of this project.
Tracks like “Woman Commando” reflect the balance between the commercial and this strategic usage of “starpower.” With pulsing Amapiano production from Grammy-nominated producer Ragee, and lyricism about popping Hennessy at tables, the track is nothing if not club-ready. However, Ayra weaponizes this digestibility to “feminize” Afropop. The club night in question is a “ladies’ night,” and Ayra rounds up a collection of her “woman commandos” in the form of Brazilian megastar Anitta and R&B sweetheart Coco Jones. Calling these global acts to her world – Coco adapting to Afrobeats with such ease that it nearly calls her identity into question – the track creates an argument about cross-continental connection while placing womanhood at its thematic center.
The pre-released “Bad Vibes,” combining sultry verses with a crowd-backed chorus and an assist from Seyi Vibez, skillfully rides the demarcation between the widely consumable and the authentic Ayra. “Goodbye” with Asake recruits yet another national treasure of Nigerian streep-pop, and Mr. Money meets Ayra in her sonic comfort zone in an expertly produced track about ditching an ex-flame. While the track almost begs for a more fitting feature to amplify Ayra’s smooth offering, Asake does his best on what will undoubtedly be a standout hit from the project. Even amidst a competitive set of commercial tracks from the project, “Jazzy’s Song” takes the lead. Ayra pays homage to label boss Don Jazzy by interpolating the intro of Wande Coal’s “You Bad” – which was masterminded by Jazzy himself – in her song’s chorus. With “Jazzy’s Song,” Ayra presents a club banger and a summer song all in one, and in the same breath links contemporary Nigerian pop with its foundational past. Even with only half of 2024 gone, one does not need to be a prophet to imagine a future in which “Jazzy’s Song” becomes a solid contender for song of the year.
With plenty of reflective offerings, the project also quells critics’ fears about Ayra becoming lost to the mainstream. “Lagos Love Story” takes a leaf out “Beggie Beggie”s book, beautifully conveying the mundanities of young Nigerian romance. Her paramours take a sour turn with “Last Heartbreak Song,” where she croons longingly about unrequited love over Afro-R&B production from her longtime collaborator Louddaaa. American R&B act, Giveon, smoothly coats the second verse in his rich baritone, making Ayra two for two where her American features are concerned.
“1942,” a haunting number underpinned by an emotive guitar, sees her lament the loss of dwindling youth. Ayra declares that “this moment makes it all worth it/all the time we put into the job,” and her journey as a girl crossing over into adulthood seems to parallel directly with her growth as an artist who is blooming in real time. The track also features her brother Milar, a close collaborator from Ayra’s youth whose songwriting featured on ‘19 & Dangerous’. While his vocals on “1942” offer little to the song, his presence provides an added sense of intimacy to the story that Ayra tells. The song is something like a final message to herself before she crosses over into superstardom, almost implying that once she steps into the new, she might have to bid farewell to her old self forever.
Rounding off the project, “The Kids Are Alright” tackles Ayra’s career from a deeply personal lens. Including audio from her, her mother, and her siblings, Ayra dedicates the entire song to her late father, to whom she cries out, “Hope you can see what I turned into/hope I’m out here making you proud.” While thematically, it sits in stark contrast with the rest of the songs on the album, “The Kids are All Right” provides critical context about just who the Ayra Starr journey is for. It is not one that she embarks upon blindly, seeking fame for fame’s sake. It is instead a quest that the artist engages in with intentionality, wholly aware that she has a lineage behind her and below her, lifting her up.
‘The Year I Turned 21’ is an exploration in equilibrium, one that aims to prove the unstoppable dominance of Ayra Starr, the phenomenon across sounds, demographics, and continents. With less sonic cohesion than her tight-knit debut album, the project is in part a testament to growing pains. But with hit tracks a-plenty across all sides of the sonic spectrum, ‘The Year I Turned 21’ renders indisputable the limitless nature of Ayra’s capabilities. She has, after all, been a gem from the onset, one so clearly destined for global prominence that stardom practically oozes from all that she touches. With this sophomore project, she makes a case for multiplicity, for sonic mastery, and for global domination, and she emerges victorious.
[Featured Image Credits/The NATIVE]
ICYMI: OUR FIRST IMPRESSIONS OF AYRA STARR’S ‘THE YEAR I TURNED 21’
What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
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NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”
From working her way out of London’s Myatt’s Field, Tanika is now setting her sights on the bright lights...
Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.
Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter.
On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest.
Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song.
From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it.
Her answers, which follow below, have been lightly edited for clarity.
How would you describe where you are in your career right now?
I’m just enjoying the journey.
What does the release of “Fast Fwd” signify for you?
It signifies love.
Why is Kida Kudz a fit for the song? (
To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship.
You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work?
Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel. I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you. A lot of producers don’t really understand the importance of knowing the artist musically but he does.
What were you aiming for with the video?
To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.
Catch an exclusive view of “Fast Fwd” below.
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Vlisco’s “The Garden Of Sisterhood” Campaign Comes To Life in New “MAYANGA” Video
A celebration of creativity and cultural
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.
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