For The Girls: YTboutthataction Is As Real As It Gets
she means business
It’s been nearly two years since the fresh-faced Nigerian rapper YTboutthataction made her debut on the scene. Armed with a small but mighty catalogue that divulges her reality and experiences as a young Black woman, YT has spent the past two years affirming herself as a fresh, promising act emanating from these parts. Born Adetutu Aderogba, YTboutthataction–also referred to as YT–the budding rapper continues to fashion herself into her own type of rap star, easing into her career by showcasing her enviable wordplay.
With her distinctive vocals and punchy lyrics, she’s been able to garner a sizeable following of listeners and set herself apart as the poster girl for saying things we don’t want to say outright. In 2021, she released her debut EP ‘Sage Mode,’ a dizzying collection of 4 tracks which find her waxing unapologetic truths and delivering hedonistic street-talking. That same year, she followed up with her sophomore EP, ‘It’s Not Me, It’s You,’ a 5-tracker packed with a string of feel-good flexes.
While lumping her under the ‘rap girls’ may be tempting to some, YTboutthataction is a multi-genre artist producing a stretch of records including Pop, R&B and Rap. Channeling a range of emotions with her captivating and profound penmanship, she touches on subjects ranging from sexual freedom to mental health. Standout tracks such as “geeked up!” from her debut EP, ‘SAGE MODE’ and “sleepless nights” off ‘it’s not me, it’s you’ serve as perfect examples of her no-holds-barred approach to songwriting. In such a short time, she has successfully created tracks that make her audiences feel seen and heard in their experiences. Take “Pill Head” for instance, a menacing track biting back at the all too relatable interactions from judgemental, antagonising African aunties.
For her latest release, “24”, YTboutthataction captures a coming of age story as she looks back on her years, the experiences gathered and lessons learnt. A sonic blend of her sharp lyricism, tuneful hooks and hype beats, “24” tells a story of self-discovery and self-acceptance. The single is set to feature on her upcoming project due for release very soon. Ahead of this, YT sits down with the NATIVE to talk about where it all started, from her debut to how her eccentric moniker came about. Alongside her new single, she also gets real about her journey this far and what we can expect from her in the future and more.
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(@ytboutthataction)Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: Let’s go back to where it all started. You officially came into the scene last year, what was your introduction to music prior to this?
YT: Prior to last year, I’ve always been a music connoisseur. I’ve always been the person that people come to for playlists. I was the person on the AUX. So I’ve always been interested and had an ear for music but I never really thought about making music until 2020. With COVID and a lot of spare time, Tblu, one of my female friends who makes music, played one of her songs for me. She’s been making music for a long time but this time was different. This was July, 2020 and I thought, I want to see if I can do this. I wrote my music and recorded in my voice notes. I was also trying to get in studios but it’s very hard as a woman, especially as a Black woman. People aren’t really willing to give you access because they don’t know what you’re working with. 7 months later, I got studio access and I made my first song “Sage Mode”. I didn’t think anything of it. I just wanted to put it on Apple Music so I could listen. I didn’t think it would have the reaction that it did. It was a very nice surprise and I definitely did not have any foresight.
NATIVE: Shoutout to Tblu for that. I think it’s really good having people in your space that could motivate you unconsciously. It’s super important.
YT: Literally! If I did not have the community of people around me right now, I don’t even think I would’ve put out any music. Having that support and people around you that are doing the same thing as you is amazing. I don’t think I could’ve done it by myself. It’s very nice to have that community. 100 percent.
NATIVE: Who or what would you say inspires your music?
YT: The main driving force for my music is what I’m feeling at the time. When it comes to the lyrical content, it’s just how I’m feeling. Music is an outlet. I journal as well and when I was younger, I used to write books and my dad would get published. I’ve always been a writer. Music was just a new mode of getting my writing out. My feelings inspire me. In terms off my sound and my cadence, I didn’t realise until after I dropped and people were telling me I sound like Sahbabii. I was subconsciously studying him as I was listening. I guess I’m his student. The fact that I grew up in Lagos as well as London, I feel like I’ve had a blend of cultures. Anime as well. My friends, family, people around me, experiences and so on. My last project was called “Boolean Logic” which is a programming language. I do AI as well so I’m inspired by science and math.
NATIVE: Tell me more about the journey to establishing YT. Let’s start with the name, how did that come about YTboutthataction?
YT: I actually had a private story from 2018 that was called ‘Young Toottss boutthataction’ and that was just following my journey. 2018, I was in second year of uni and I was just doing whatever. The name stuck but only people on my private story knew that was my name. When I decided that I was going to make music, I was always going to be Young Toottss but I thought, I’m not gonna be young forever.
NATIVE: Moreover, there’s a lot of Yung’s out right now.
YT: Exactly. I can’t call myself young, like, I’m turning 24 tomorrow. I’m not young anymore. I still want to keep YT but not Young Toottss. There’s so many Yung’s like you said. So I did a poll on a private Twitter account, and it was honestly a split vote between Young Toottss and YTboutthataction but ultimately I knew I’d pick something that’s different. Even if it’s a mouthful, they will catch on. That’s why in my first EP, I made sure I pronounced the name so there’s no mixup.
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NATIVE: Talk me through ‘SAGE MODE’. What was the creative process for the debut project like and how did you feel releasing that?
YT: My creative process is very random and sporadic. I signed a distribution deal in June and I didn’t know that you have to basically upload your music four weeks prior. This song that I am dropping tomorrow I thought of the concept, wrote and made it 2 weeks ago. The reason I did this was because I liked the sporadic nature. I was just going with my gut and my feelings. With “Sage Mode”, some guy had just annoyed me and I was pissed off in a way that I needed to make a song about it. Like this is not journal/ranting-to-your-friends angry. First line of “Sage Mode” was “Boy don’t approach me if you scared/When it comes to YT you gotta get prepared”. When I recorded it on my voice memos, I had COVID and I planned to record it whenever I got into a studio. I knew it was the one but when I released, I thought just my friends would roll with it. I didn’t think it would have a wide reach. The response was surreal.
NATIVE: You’ve been consistent with the release of with two EP’s out last year and some singles. What would you say you’ve learnt in your time so far?
YT: The one thing I would say is don’t overthink it and don’t stress about what you think would be the reception. 9/10 times you can’t predict it. Ultimately, all that matters is if you like it. I used to send people my unreleased music before but I’ve stopped doing that. Before I released “Sage Mode” there was someone I sent it to and he told me it was too long. People only criticise your music when they feel like they have the power. It sucks the fun out of it and people don’t always have the same vision as you. If you’re critiquing the technical aspects, that’s ok but not the art of it like the length.
NATIVE: You would have reasons for making decisions that you made. It was intentional so that sort of feedback may throw you off.
YT: Exactly. It almost threw me off. My opinion matters the most to me. It doesn’t matter what they say, I would still release. I believe whatever I create is good.
NATIVE: If anything, everyone has their own niche. You would always find someone that will like it regardless.
YT: Exactly and that’s one thing I learnt. You can’t please everybody and I’m not trying to. I do this for fun and that’s always going to be the main premise.
NATIVE: Describe an average YT listener to me, what would you say they’re like?
YT: I love my listeners. It’s always the free-spirited and open minded people. They’re always confident and fashionable women. I even have a demographic of teenage boys that listen to me and that was the biggest shock to me.
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NATIVE: Talk to me about “24”, your most recent drop and on your birthday as well. What’s special about this particular record?
YT: I guess every year is a year of awakening so I’m excited for 24 but this my year of 23, I feel like I have learnt so much more than I have in any other year. 23 was an eye opener to me for sure. I became closer to my values and principles. I finally aligned myself with what I truly believe at my very core. It’s a song that reflects on every year I’ve had. It talks about what I expected from life and now the reality of it. It’s a letter to myself. At the end, it switches to my younger self, talking to me now. It’s a very reflective and poetic piece. The song is still very hype though. I’m dropping on my birthday as a present to myself as well.
NATIVE: What does success look like to you on a larger scale?
YT: I want to able to earn a living off my music and people to be impacted by it. I’m actually helping people. I have a deep connection with my favourite artists. I feel like music is a very powerful way to connect to people. I want people to feel the way my favourite artists make me feel. Knowing that people that listen to YTboutthataction know they are in for an experience is the best thing. I’m very happy and proud with where I am right now but onwards and upwards from here.
NATIVE: What more can we expect from YTboutthataction?
YT: Get ready for the most random sounds you’ve ever heard but in a good way. I’ve experienced all sorts of things in different places and sometimes they come together in the most bizarre ways. Be prepared for amazing visuals and amazing music. Be prepared to hear things that you’ve never heard before.
Listent to “24” here.
Featured Image Credits/NATIVE
Nwanneamaka couples her creative interests with her individuality, using writing as a vessel for her expression.
ICYMI: STREETWEAR IS ON THE RISE IN AFRICA BUT INDUSTRY-WIDE SUPPORT IS SLOW TO HAPPEN
Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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Tems Partners With Hennessy For Leading Vibe Initiative
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.
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