For the Girls: It’s finally time for Nigerian rap to embrace its women
This era may very well be remembered as a revival for women in rap
You’ll probably remember the effect Meek Mill’s “Dreams & Nightmares” has on niggas in the club, when the DJ spins the track. Everyone goes crazy, they’re all rapping along to the hopeful, yet brag-filled rhymes and it’s fair to call the track an anthem, even after 8 years. I’m very certain that if clubbing was still a thing, Beyoncé and Megan Thee Stallion’s “Savage” Remix would have the exact same effect on women. There was a collective joy the night it dropped, especially considering that before the song dropped and lifted our spirits, we had a heavy day of abusers being exposed and old wounds opening up again.
Hip hop is one of the most digitally consumed genres of music globally, so much that they’ve since been integrated as popular music and are dominating the charts with ease (Roddy Ricch’s The Box is still in the top 10 on Billboard’s Hot 100). In Nigeria, however, that’s not quite the case, and the rap scene doesn’t quite enjoy many of the same benefits in popular culture and mainstream acclaim. Regardless of this, you can probably mention ten male rappers from Nigeria who are still active today with ease but will probably struggle when it comes to naming girls who rap in the same breath.
That’s telling of the ugly truth that the scene is overwhelmingly dominated by men, and women are still waiting to have their voices heard within an industry which rarely champions them. It’s interesting that men have used women as the subject of their music and created a narrative for us through their perspective for as long as time has existed, yet aren’t quite so open to letting women into the scene to actually speak for themselves.
Regardless of this, there have been female rappers who have given women a voice all this time – from the talented frontrunners like Weird MC, Muna, Sasha P, Eva Alordiah, Mo’Cheddah who set the foundation to the new generation of girl rappers like Ictooicy, Yazavelli, DetoBlack, SGaWD, Phlow, Ade Lasodé etc who are carving out space for themselves. Given the current climate towards women, especially at this very moment, there’s no better time for women to have a platform to say what they want to say unapologetically.
Last year, Jermaine Dupri aired his grievances about female rappers, stating “I feel like they’re showing us the same things. I don’t think they’re showing us who’s the best rapper. I think they’re trying to show — for me, it’s like strippers rapping.” Given that misogyny and patriarchal ideals are already deeply woven into hip-hop’s fabric, it’s not surprising to hear ignorant takes like this. When you think about the background of some of the best rappers in the game such as BIGGIE, Kendrick or Jay Z, they are narrating the life they live(d), and showing the entire world what that entails. A rapper like Cardi B or Megan Thee Stallion is doing the same thing, so it’s curious that one’s life story is revered, whilst the other isn’t taken seriously.
When you consider that this is the case in the “progressive” western world, you can understand how far behind the Nigerian music scene is in the scheme of things. We’ve said before that men use their music as a means to motivate each other, and women should be allowed to do the same. This is why the collective efforts of the new-gen female rappers are not lost, and it’s extremely comforting to see a crop of women who unwilling to compromise the right to speak their truth.
Artists like Ictooicy are breaking down this barrier, and although she’s not rapping about her sexuality, her slew of lo-fi bedroom pop-tinged rap is very important for women like her. In a world where women who express their emotions are typically labelled as either ‘angry’ or ‘bitter’, Ictooicy’s confident and honest music holds it down for many young African GenZers. One her 2019 single, “Sage” she raps about the power of speaking her mind and explicitly dispels any efforts to make her into anything she hasn’t chosen to be on her own terms. By not following the rules, she’s been able to create her own playbook that has endeared her to her loyal following (her last project peaked at the #3 spot on Apple Music’s Alternative Album chart).
One big issue in the Nigerian music industry is that we feel like rap has to sound a certain way for it to be considered real rap. Given this, people who tend to express their rap abilities over any style of music aren’t considered rappers, and if even the men suffer this, you can rest assured that it’s no different for women.
For the majority of the past two decades, female rappers were almost made to fuse some elements of afropop into their rap, in order to stay relevant in the industry. Nowadays, however, given how much has changed in the industry, women don’t really have to jump through the same hoops as the ones before them did. The order of the day isn’t dictated by gatekeepers anymore – we have realised that you can’t see a glass ceiling and are smashing through them and breaking into closed doors.
Rap freshman, DetoBlack made her debut with what seems reminiscent of Nicki’s verse on “Monster” in Odunsi the Engine’s sex-positive number “body count”. With her slick tongued lyrics, she calls all the bad bitches around the world to assemble, culminating in many TikTok videos surfacing online in the weeks following its release. She came in with the force of a seasoned rapper, stating her claim unapologetically and might not even realise how much she has set the tone for the generation of women who will come after her. Sexuality in hip-hop/rap has always been used as a means to objectify women, but by reclaiming that narrative and shooting her middle finger back at the boys, DetoBlack is empowering the next set of women to consistently speak on these topics that are typically shunned in these parts.
In the same breath, we have rappers such as Yazzavelli who have been towing a similar path for quite some time, and her debut project ‘Velli’ showed off her confident delivery alongside her carnal desires. We also have Ms Fu, who always bares her soul, and did a great job explaining how tired we are of the patriarchy on Kojo Cue’s “From My Sisters”. We also have Phlowz, who recently switched up her rappity-rap tone in her latest project ‘Marmalade’ , and we also have Abuja-based rapper and singer, SGaWD dishing it out as it is.
Thankfully, we’re slowly shedding the archaic belief that only one woman can be on top of the game at a time, especially with the current class of female rappers ready to show their each other support and the growing community being fostered amongst them. Women are wising up to the fact that we’re all fighting the same fight and feeding into the staged-drama from critics to fans alike, which doesn’t eve particularly give you a seat at the boy’s table. We need to be coming together and nurturing a more collaborative atmosphere amongst the women in hip-hop/rap because we’re oftentimes our only allies.
Women are currently fighting the good fight for the emancipation of our experiences, bodies, and society’s expectations of us in every walk of life. The strongest weapon these women have in their arsenal is their individuality, which will appeal to many women all at the same time, whilst showing off a vast and diverse range of talent and sonic quality. Gone are the days of constricting personas, and gatekeepers telling women who they have to be liked and heard. Their main audience – other women like them – should understand each person’s place, and that we’ll have women like Ms Fu and Ictooicy who will validate our feelings and talk you through your healing, whilst the DetoBlacks and Yazavelli’s provide us with twerk-ready anthems.
It feels like there’s more room than ever for women to do whatever they want. These women are not waiting for anyone’s permission to navigate typical Africanness, and the audience is also welcoming them as soon as they come forward. They are taking up space unapologetically, and it will be interesting to see how ready the wider Nigerian audience is for this.
We’re at a point where every minority group is demanding fair treatment, and given this, as women, we’re more receptive to anything that feeds into this narrative. We’re here to listen, and the women who are making music in this era may very well be remembered as a revival for women in rap and a cultural reset. Ignore them at your own loss.
Featured image credits/NATIVE
Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_
ICYMI: We’re witnessing a dominant new line in the afropop vanguard
Fido Wants To Leave A Mark
Building on the momentum of hits like “Awolowo" and “Joy Is Coming,” ‘Olayemi’ marks a pivotal...
Confidence is a rare trait that eludes many, but Fido, born Olayemi Josiah Awosika, wields it like a maestro conducting a symphony. Growing up between Lagos and Matogun in Ogun State, locales where hope and grind intertwine, Fido describes his childhood as amazing. “I was born in Lagos, but my parents are from Ondo State,” he tells The NATIVE. “I don’t have much to say about it, but I had a great childhood with the best parents in the world. They supported me, and I’m grateful for that.”
Unlike other artists who inherited their passion for music from family, Fido’s interest came about by self-discovery. “My music came from within me,” he says. “No one in my family is a musician or into music professionally. I discovered this talent in me, and it just felt natural to pursue it.” That realization hit at age 14, igniting a zeal that propelled him toward the industry. “That’s when the zeal to pursue music hit me,” he recalls. “I knew I wanted to make a name for myself in the industry.”
Inspired by Afrobeat legend Fela Anikulapo-Kuti, Juju great King Sunny Adé, and Fuji icon K1 De Ultimate, Fido developed his unique style, drawing on the soulful storytelling style and infectious energy of the trio’s music. “Their music had soul and told stories that connected with people,” he explains. “That energy and authenticity pushed me to create my sound.”
Fido’s breakout single, “Awolowo,” released in 2024, became a defining moment for him, blending melodic Afropop grooves with streetwise lyricism, the song elevated him to the top of the genre. “It’s a ganja vibe, you know?” he says, laughing. “When I heard the beat, the inspiration just flowed naturally. It was divine, like the music came straight from my soul.” Navigating fame has been a learning curve, but Fido has embraced it with gratitude. “It’s been great, but it’s also a learning process,” he admits. “Fame comes with new responsibilities, and I’m figuring out how to grow and develop myself.”
For Fido, timing is crucial, yet the singer believes there’s no such thing as a perfect moment to share his music. His debut EP, ‘Olayemi,’ was released on August 1, 2025, marking a vibrant, new chapter in a journey ignited by self-discovery all those years ago. “There’s no perfect time, you know?” he says with a grin. “My fans kept asking, ‘Fido, when’s the project dropping?’ So, I worked with my team, and we decided it was time to put it out.”
Building on the momentum of hits like “Awolowo“ and “Joy Is Coming,” ‘Olayemi’ marks a pivotal milestone for the singer. With a title taken from his birth name, the EP is a deeply personal reflection of his upbringing and journey. “The project is about me, my culture, my upbringing, and my roots,” Fido explains. “It’s about letting people know who Mr. Fido is.” The eight-track project, curated from a vault of recordings spanning years, balances introspection with infectious energy. “I’ve been recording for years,” Fido notes. “For ‘Olayemi,’ I picked songs that felt right for my fans and aligned with my story.”
Across its tracks, ‘Olayemi’ captures Mr. Fido’s remarkable journey from the quiet streets of Matogun, a border town in Ogun State, to the global music stage. The EP traces his path from a struggling unknown to a rising artist on the cusp of stardom, weaving tales of hardship, hope, and triumph. Songs like “Lungu” and “Boko” lay bare the weight of his past struggles, while “Money Moves” channels a buoyant resolve and “Dollarpor” blends Yoruba and English to manifest future success.
Fido’s creative process is a masterclass in effortlessness, a quality he proudly owns. “It’s always easy for Mr. Fido,” he declares with a laugh, a mantra that defines his approach to music-making. “I get in the studio with my producer, he plays the beat, and I vibe. Sometimes I write, sometimes the inspiration hits right there. It’s natural. When asked about challenges in the studio, he doubles down on his confidence, “Nah, it’s always easy for Mr. Fido.”
That ease shines through on ‘Olayemi,’ seeing the singer blend Fuji and contemporary pop influences to create a sound that feels both nostalgic and fresh. His ability to let the music flow without forcing it has become a hallmark of his artistry, setting him apart in an industry often marked by overproduction.
In all, the release of ‘Olayemi’ is a defining moment for Fido, who describes it as “a huge milestone and a step toward greatness.” He’s thrilled with the response from his fans, who have embraced the project with enthusiasm. “The reception has been amazing, fans are streaming it, and they love it,” he shares, his excitement palpable. “When you listen to the EP, you hear my story, my upbringing, and where I come from. It’s personal, and I’m thrilled that people connect with it.”
As he looks to the future, Fido is focused on taking his music to new heights. “Expect more greatness,” he declares. “I’m aiming to take my sound international, representing us on a global stage. I want to be a good example for the genre, both locally and worldwide.”
Listen to ‘Olayemi‘ here.
Keep reading...
Best New Music: Luwa.Mp4 Lays Bare The Anxieties Of A Non-Conformist Lifestyle On “pEEP MY RIDE”
On "pEEP MY RIDE,” Luwa.Mp4 is able to force a confrontation with the misunderstanding that accompanies a...
Luwa.Mp4 has always committed to the part right from the start. The rising singer and rapper presented himself early on as a musical chameleon who embodied the Punk ethos of non-conformity and a do-it-yourself ethic. If his fluid songs which mostly fused Hip-Hop with elements of Rock didn’t convey his message adequately, his outlandish fashion choices drove home the point.
His signature mohawk and audacious fits earned him the “alté Balotelli” moniker as he also channelled some of the football maverick’s mercurial spirit. He’s kept that unwavering commitment to this artistic vision alive on his recently released debut album ‘punKstA*,’ a definitive and concise body of work that helps solidify his creative identity.
Across the album’s 12 songs, Luwa.Mp4 expands on his auto-tune-drenched, sing-rap melodramatic multiverse, displaying the remarkable dynamism that has established him as one of the most unique and daring acts around. On the pounding album opener, he declares himself a “staR” rapping, ‘Apart from the fact that you ain’t got my teflon, nigga I’m the best and no one’s reaching me I swear,’ with the confidence and arrogance of a certain American controversial rapper-producer phenom.
He goes on to back up this claim through the album’s 25-minute runtime, fusing genres like Punk Rock, Afropop, Hyperpop, and Rap with a breezy nonchalance while also making frequent excursions into Electronic music terrain. Arguably, the album’s strongest offering comes in the form of “pEEP My RIDE,” one of the few downtempo cuts that appear in the project’s second half.
Produced by JTRN, “pEEP My RIDE” is an instant feel-good record that evokes some of the nostalgia of the MTV television series that its title slyly references. It’s the kind of music you want to drive around town with the top down to. “This is the Lagos living, ooh? (Ooh) / Yes, I’m driving in a Lexus, down Bourdillon Road,” he sings coolly in the record’s opening seconds.
The first verse, however, gives a depressing glimpse into the shared reality of many young Nigerians, but more peculiarly, one that he faces due to his lifestyle and creative choices. “First stop I see police but they won’t stop me / Coz me and cyk riding in a big body / Only thing they could ask me for is a lil’ money / But they won’t tell me, “Get down,” they think I’m somebody’s son,” he sings.
The follow-up lines paint a more frightening picture: “If I was in an Uber, it wouldn’t be fun / They always say I’m a scammer or I have a gun / Acting like I’m Jeffrey Dahmer but I’m not on the run.” It’s relatable and distressing, but like many great artists, Luwa.Mp4 manages to turn some of his most morbid experiences and moments into something truly compelling.
After crossing the first metaphorical checkpoint, the rest of the ride/record feels more celebratory and less anxiety-laden. The song eventually transitions into the more boisterous “pAPARAZZI,” as he resumes making bold artistic choices and claims that deliver on the album’s title. However, through the sticky melodies and ambience of “pEEP MY RIDE,” he’s able to reflect on the price of choosing and living a non-conformist lifestyle, forcing a confrontation with the solitude and misunderstanding that accompany a path less traveled.
Listen to ‘punKstA*’ here.
Keep reading...
DEELA Teases Forthcoming Mixtape ‘Wicked’ With Unapologetic “Slide”
“Slide,” which was produced by frequent collaborator Genio Bambino and Dera, features more unapologetic...
Rising rapper DEELA has shared a new single titled “Slide.” The latest release comes as her third official single of the year, as she continues to build anticipation amongst her growing fanbase for ‘Wicked,’ a new forthcoming mixtape that she has been teasing for a few weeks now. The mixtape, which is set for release imminently, will arrive a few months shy of a year since her last project.
After kicking off 2025 with a couple of producer edits of “Kryptonite,” one of her standout releases from last year, DEELA released the bouncy “HEATER,” her first official single of the year, which featured Genio Bambino and American rapper and producer Vayda. A few weeks later, she released the fiery “Supreme Dee,” a self-assured bop where she declared herself, ‘The one, the truth Supreme Dee.’
“Slide,” which was produced by frequent collaborator Genio Bambino and Dera, features more unapologetic shit talking in usual DEELA fashion. The pace here is a lot quicker than her earlier releases from the year, as she mouths off about the jewellery on her wrist and her dislike for hypocrites over pulsating drums and swirling synths. ‘Used to be shy, so meek / Bro fuck that, I want the whole world now,’ she raps confidently with the same brazen swagger that continues to earn her a growing audience.
The forthcoming ‘Wicked,’ will come as the follow to 2024’s ‘Good Girl No Dey Pay.’ Shortly before the release of “Slide,” the rapper appeared on Foundation.fm, a female-led community station where she revealed that the new mixtape will feature 8 tracks, a couple of fun features and different sounds.
Listen to “Slide” here.
Keep reading...
