For The Girls: Efe Oraka is making music for cool black girls
My genre is called cool black girl because I make music that cool black girls make.
To commemorate Women’s History Month this year, we will be spotlighting a different female artist every day of the month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to shine a light on the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own.
Written by Adaobi Ajegbo & Tami Makinde
Every day this month to celebrate Women’s History Month, we have profiled a female artist to showcase the diverse range of talent there is in the industry, which is often overlooked thanks to the patriarchy and set standards. Some of the artists we’ve highlighted are relatively new discoveries, while some others you’ve already heard about.
Efe Oraka happens to be in the category of the latter, with several releases that cement her position in the industry and make her one to keep close tabs on. Over the last two years, she has become an interesting talent to watch over the years and it’s very clear where she’s headed in the game. Just this year alone, she’s bagged a feature from Chocolate City heavyweight, M.I Abaga and performed alongside other talented female artists on International Women’s Day at Femme Africa’s latest showcase.
The Abuja-based artist has been actively releasing music for three years. Her first single on Soundcloud, “Gbe Mi”, dates back to 2017, where she lets her buttery smooth, yet strong vocals shine through. Sampling Kanye West’s “Ultralight Beam”, she introduced us to what we’re now seeing from her all the way back then, and has stayed true to her craft all this time.
Following her latest release, “Zion” and the announcement of her upcoming EP, ‘Magic’, which will feature the pre-released “Zion” , “Wonderland” and an exciting Tay Iwar feature. Since we’re indoors thanks to Miss ‘Rona, we got to speak to Efe in her safe space via Facetime, while she was presumably ready for bed in a headscarf and glasses, and it made for a very enlightening conversation about her craft. We got to speak to the talented singer about her inspiration, her steady incline, personal life and women’s place in the music industry.
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NATIVE: How are you doing in these uncertain times?
Efe: I’m doing okay mostly, taking one day at a time.
So what should we expect from your upcoming EP, ‘Magic’ ?
The EP will have five tracks and an intro. So it’s “Comfort Food”, “Wonderland”, “Love Galactic”, “Zion” and “Dive” but I’ve been wanting to add one more track just because it’s been so long I’ve made everyone wait. I wrote most of these songs between the time I was 17 and 18. I’m turning 21 next month, and there’s been a lot of growth in between. I’m not ready to put any song I’ve recently written, so I have to look for another song from that time.
What’s your selection process like? How do you know which songs you want to put out?
I am definitely really picky; I am my biggest fan and also my biggest critic, so most of the time when I’m just creating a song I think it’s the most amazing thing ever. When I take it to the studio though, I get a beat and I lay out vocals, which gives me time to get out of that initial excitement and really process the song – sometimes I start to feel like “Ómò this one is not really making sense oh”.
But I’m very picky because I just want everything at every point in time to not necessarily be a true representation of me but a true representation of where I am and what my mindset is and what I’m trying to do. And I mean, everyday I’m growing more, learning more, stretching more and my taste keeps changing.
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Tell me a bit about being a woman in the industry? What has that been like for you?
It’s just the thing of constantly being forgotten or left in the shadows and having to fight extra hard to carve a niche for yourself. You’re never really a part of the conversation sometimes. We thank God for artists like Tems and Lady Donli, who keep showing us that you can be a part of the conversation at all times, but it’s also like a lot of times when people refer to female artists they refer to them as female artists as opposed to just being an artist. It’s a lot, it’s just a lot.
Do you have anything else that gets in the way of your creative process?
Yes definitely, I don’t want to go to school anymore and I feel like I’ve always wanted to be the champion – like stay in school and do the right thing, but I’m generally in a phase of not caring, especially when it comes to the way other people perceive the things I do.
Uni is not it for me, and that’s a lot for me to say because I do very well with academics, I always have, but at this point in my life allI do is think about all the things I would rather be doing apart from uni. I study law and I’ll be reading statutes and cases, Law is not easy and its like wow I could really just be doing something else. In a way I’m also grateful for the fact that I’m in school, because it’s a good distraction from when music is not necessarily working out the way I want it to.
If you had to, what genre would you categorise your music as?
I really liked that you asked me this question, because when I first started creating music – even though I wouldn’t have called it this then – I was very much a pop girl, I used to listen to a lot of Imagine Dragons, Avril Lavigne, Coldplay, Radiohead & Pink. I was really in my pop/alternative rock/soft rock phase but now that I am growing, the type of music I’ve been listening to in the past few years has really really changed.
I’m very surprised about the fact that I listen to Young Thug now – not because I think the music is not great, but because I was scared and I was like this just generally doesn’t sound like what I should fit into. I then started to realise that everything comes from a source, and at the end of the day, who are we if not one another? We literally all imitate each other, some people just find new ways to extend or shrink or alter what has already been done. So I told myself “Efe, if you want to make music that’s timeless, music that cuts across all works of life and across all types of people you need to immerse yourself in absolutely anything”
Everything is fluid these days, and we need to be maintaining the real essence of who we are so that’s what I’m trying to do. I look more at creating a style for myself, than creating a genre because who is really sticking to one genre in 2020? We’re fusing baby!
So how do you think your fluidity affects the way you’re received by the audience?
I don’t think it hurts my brand, but I’ve definitely had a lot of experience where people have tried to put me in a box. I’ve been put in the Asa, Johnny Drille, Simi box, I’ve also been put in the Santi, Odunsi, Lady Donli box. I’ve been put in so many boxes that I’m just like “yo are you not listening to the music, how does it even relate?”
It used to stress me out a lot, but I literally from the bottom of my heart don’t care where someone decides to place me. The most important thing is that you listen to the music and you’re experiencing it. I feel like when people listen to my bodies of work they will understand that I’m really not trying to be put into any box and I will not associate myself with any particular genre. Do you know what actually? My genre is called cool black girl because I make music that cool black girls make.
That’s right! So let’s talk about “Zion”, what’s the story behind the song and where did you draw influence from?
So essentially, what a lot people may not know is that “Zion” is actually a continuation of “Wonderland”, that’s why i purposely made sure that the artwork was kind of like a darker version of wonderland. So “Wonderland” is a story of love, but it is also a story of uncertainty and not really being sure where somebody is about to take you, having doubts. I say things like it’s a twisted fairytale.
There’s annotations in that song that anybody who’s proper trying to deep the lyrics will grab that they’re coming from a place where they’re not really sure about a certain person, but because the person so interesting and different from what they’re used to, it’s like “okay let me get out of my comfort space and go into this relationship”. So we go to Wonderland together, and then you take me to one part that I don’t really know and now leave me there. So to continue, in “Zion”, I’m begging God to please take me back to Zion. Zion in the bible is a place where Christians, find like their strong place of comfort, a place of rest. But it was also inspired by Lauryn Hill and Carlo Santana.
How did you get M.I on the song?
I didn’t think of MI being on it because I mean it was 2017, I didn’t know anybody in the industry, and like how would M.I; Mister Incredible, Chairman be on my song? So I was just going to ask one of my guys that raps “yo how far, spit some bars. Then on Twitter, there was this thing where his [M.I’s] people said he puts on a lot of female artists, andI replied like “Omo, MI has not put on anybody if he has not put me on o” and he actually saw the tweet and asked me to send him the song. When I sent in the song, he texted me that day at like 1am and asked me what my thought process was for the song; half asleep I sent him a voice note explaining the whole biblical allegories and everything, and then he sent me back that verse. He ate up those biblical metaphors.
You mentioned being inspired Lauryn Hill earlier, which other artists or what else influences your music?
Well I would say it’s mostly from my day-to-day experiences, the conversations I have, the music that I listen to, the places that I go to, it’s everywhere. I used to think that my main inspiration or my driving force was from Abuja because I love Abuja so much, but after a while when I went to Toronto and moved partly to Lagos, I realised it wasn’t the city because I’m picking other things from other cities and the stuff I’m even making in these other cities sounds different from what I would make when I’m home so it’s really just everything around me.
With track titles like “Comfort Food”, “Love Galactic”, “Dive” and pre-released singles like “Wonderland”, Efe Oraka is gearing up to let listeners into her perfectly crafted lo-fi pop world and cement herself as an unmissable name in the music industry. We can’t wait to see what she comes up with.
Featured image credits/instagram
For the Girls Special: How women’s place in music has changed over the last decade
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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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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