The significance of Kendrick Lamar releasing his album from Ghana
It's a flex for Ghana and Ghanaians
The best rapper alive just spent a week in Accra, Ghana.
That may not sound like a big deal to the cynics amongst you, given the West African country has recently become the destination spot for global superstars, Africans across the continent, and Black people in the diaspora. What makes it notable though, is the timing. On the eve of the release of his fifth studio album, ‘Mr. Morale & The Big Steppers’, the Compton-born rapper was shuttling around Accra, from Jamestown to Osu, prepping its release.
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Since vaulting into the upper echelon of superstardom with his instant classic major label debut album, ‘good kid, M.A.A.D City’, every Kendrick Lamar full-length release has been an event. Regardless, this new project is arguably the most anticipated of his incredible career. His last set, ‘DAMN.’, came out in 2017, and the soundtrack he curated for ‘Black Panther’ was released in 2018. Five years between solo albums is an eternity in streaming years, especially for an artist that’s notoriously invisible on social media.
Usually, one would expect an artist releasing a new album after a self-imposed hiatus to want to cater to their immediate audience, through radio runs, interviews with local press, “surprise” appearances at staple events, and other parochial attempts to dominate the IG feed for that day. Obviously, Kendrick’s level of ubiquity and the global reverence he commands affords him the luxury of not going the traditional route with his return LP, but flying to another continent entirely is an unexpected turn in the rollout script.
As expected, what he was doing in Accra has been a topic of conversation in music circles on the continent. Rumours of a top-secret video shoot for a song off ‘Mr. Morale…’ seem plausible. Perhaps he just wanted to see what all the hype was about? Pictures from the private listening event on the night, hosted by Spotify, show Kendrick with Ghanaian artists Black Sherif, Amaarae and Stonebwoy.
Love to everyone that came out to celebrate @kendricklamar in Ghana at our #MrMoraleAndTheBigSteppers party last night
pic.twitter.com/wzYe0fNzhh
— Spotify (@Spotify) May 15, 2022
Whether the motivation for his travel is either of those speculations, something else entirely, or a combination of several factors, the presence of Kendrick Lamar in Ghana at a significant time in his career is eyebrow raising. While this is his first time in Ghana, this isn’t Kendrick’s first time in Africa. In 2014, he visited South Africa, a trip that he said heavily influenced his classic, jazz-indented third album, ‘To Pimp A Butterfly’. Travelling around Johannesburg, Durban, Cape Town, and visiting Nelson Mandela’s cell on Robben Island, the rapper has repeatedly credited visiting the rainbow nation with broadening his approach to making music.
On ‘TPAB’, he references Nelson Mandela on the epic 12-minute closer “Mortal Man,” and storytelling highlight “How Much A Dollar Cost” is based on a real life moment during the South Africa trip. On the ‘Black Panther’ soundtrack, he recruited South African artists Yugen Blakrok, Sjava, Saudi and Babes Wodumo for standout moments. As well-executed and well-curated as it was, the soundtrack was barely the pan-African effort many would’ve liked, but the inclusion of those artists is another mark of the profound effect visiting an African country had on him. It’s only right he came back for seconds.
Apart from the industry events he’s been at in Ghana, pictures and videos of Kendrick Lamar doing more mundane stuff has made its way to Twitter timelines. Over the weekend, he was at Freedom Skate Park, hanging out with people in the community, taking pictures and signing autographs. He was also spotted playing football at a makeshift pitch in Jamestown, and he spent some time at the bar beach in Laboma.
Kendrick Lamar signing autographs and meeting skaters and fans at Ghana’s first skate park, Freedom Skate Park in Accra.
The skate park was being supervised by Virgil Abloh, the late Head of Louis Vuitton’s Men’s Wear Collection before he died. pic.twitter.com/5xWxMmO8An
— Africa Facts Zone (@AfricaFactsZone) May 15, 2022
As heart-warming and intriguing as it is to see Kendrick Lamar having an eventful time and clearly enjoying himself in Ghana—coupled with his time in South Africa—it’s not novel for American music stars, specifically Black artists, to mingle with local residents upon touching base in the motherland, some staying longer than the others. Stevie Wonder famously received the four Grammys for his sprawling magnum opus, ‘Songs in the Key of Life’, in 1977, during a prolonged stay in Lagos after Festac ’77. A few years prior, in 1974, Nina Simone moved to Liberia and stayed in Monrovia for three years. In 1997, Ghostface Killah travelled to Benin Republic for alternative medical care and ended up staying longer than planned in a Village hours outside the capital city of Cotonou, a stay that inspired his seminal and lyrically esoteric masterpiece, ‘Supreme Clientele.’
Each of those artists had reasons for visiting (and remaining) on the continent at those points in their lives, from disillusionment with racism to redefining their perspective—via searching out relief for physical and mental health issues. “We never dream of Africa. Like, ‘Damn, this is the motherland,’” Kendrick Lamar told Dave Chapelle of his South Africa trip in a conversation for Interview Magazine. “You feel it as soon as you touch down. That moment changed my whole perspective on how to convey my art.”
Those sentiments might elicit an eye roll or two from many of us who were born and raised in African countries, but it is impossible to dismiss the profoundness of visiting Africa for the first time for those born and raised in the diaspora. Besides, many artists have shown that visits to the continent don’t need to have a weighty reason attached to them to have a deep impact on them. The simple feeling for Black artists to be surrounded by people that look like them, is enough to make one feel at home.
Ari Lennox gushed about being in Ghana for last December’s Afrochella (to some unnecessary backlash), Cardi B has always been effusive about coming to Nigeria in 2019, Chance the Rapper chronicled his Ghanaian trip on Twitter and wants to return with “a bigger group,” Dreamville acts Bas, JID and Earthgang have stayed multiple brief stints in South Africa, collaborating with local rap artists and even tapping Shane Eagle (Bas) and Blxckie (Earthgang) for international tours.
Interestingly, Kendrick Lamar isn’t the first superstar Rap artist to be in Africa on release day. In 2018, close friend and peer J. Cole was in Nigeria on the same day as the drop of his fifth album, ‘KOD’, in obligation of a live show, and he performed a few songs off the project for the first time in front of over 6,000 turnt fans. It would be disingenuous to claim Kendrick is following Cole’s path, since the circumstances of their trips to West African countries are as similar as they are different.
There have not been any scheduled live shows, and beyond the peeks we’ve seen on social media, only Kendrick Lamar, his pgLang co-founder Dave Free, and the crew they travelled with really know reason behind this Ghana trip. From an external standpoint, though, it’s an exhibition of the post-digital era, where artists can release their music without being tethered to their home countries. It’s also an exhibition of autonomy from an artist that continues to carve out his mythos by being meticulous and intentional.
The oft-repeated mantra of “Africa To The World” has somewhat defined the last decade of music coverage on the continent. It wasn’t too long ago that D’Banj and Don Jazzy being spotted with Kanye West seemed like a momentous occasion for the continent, or at the very least, the Nigerian entertainment industry. We don’t have to strain our memories too much to remember the fanfare that Drake’s feature verse on the “Ojuelegba” remix brought, or the pride we felt the morning we woke up to a Shatta Wale & Beyoncé collaboration.
Kendrick Lamar made a calculated choice to be in Ghana for the release of his feverishly anticipated follow-up to a Pulitzer Prize-winning album. Even if you still want to be cynical about the magnitude of this occurrence and its timing, it’s hard to not admit that the best rap artist of his generation choosing to mark a significant point on the timeline of his career in the land that pioneered Highlife, away from the country that birthed him and Hip-Hop, is a flex. It’s a flex for Ghana and Ghanaians, and to a lesser but notable extent, for Africa and Africans on the continent and in the diaspora. While there will always be a clamour for and from African artists to take their music “to the world”, it appears now, more than ever, The World is Coming to Africa.
Stream ‘Mr Morale & The Big Steppers’ below.
Featured image credits/NATIVE
ICYMI: PROJECT RUNAWAY
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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