Lady Donli Is Ready To Enjoy Her Life
A timeline showing the evolution leading up to Donli's debut album
For the better part of this year, singer-songwriter Lady Donli has been stoking the hype for her upcoming debut album, ‘Enjoy Your Life’, due this Friday, August 9th. While official debut LP releases often come with some rookie jitters, the Abuja-raised artist has been strutting around with a palpable sense of confidence. And why wouldn’t she; she’s padded her résumé, releasing several singles and projects leading up to this momentous point in her career.
In the grand context of Lady Donli’s career, ‘Enjoy Your Life’ is the singer’s fifth project. The projected retro-inspired lean of the coming album highlights her commitment to fine-tuning her abilities over the course of her four previous projects through intriguing reinventions with each subsequent release. This evolution-based path showcases how widely varied her music is/can be, while also reemphasizing the core elements of her arsenal: a freakishly distinct vocal texture and a penchant for expressive songwriting.
Donli released her first two projects before she had even discovered the full potential for distributing content online as only her last two tapes are available on digital streaming platforms. Though this leaves little context to go by for speculating on the quality of both mixtapes, they are foundational releases with impressionable features.
In 2014, the singer dropped her first project, ‘Love or War’, a 12-song mixtape that traversed a wide array of music choices, plenty of which hasn’t aged too well but ultimately shows promise. “You A Learner” recall’s Brick & Lace’s uber-smash, “Love is Wicked”, with its electro-reggae beat and vindictive jeering at an ex; “Queen of Hearts” channels ‘90s shiny suit era R&B; while final track “Nothing On Me” is a sassy kiss-off set to a New Jack Swing groove, given extra pomp provided by its EDM fervour.
As a singer, Donli was clearly still working out the kinks of her vocal delivery on the tape, with her melodies tumbling and flowing in equal measure. In comparison to her latter work, she sounded like she was trying a bit too hard. On a far more positive note, though, her writing was steeped in realism, giving the songs their soulful core. Bouncing between odes to self-discovery and love songs fixed on the frayed end of messy relationships, ‘Love or War’ relied heavily on its being relatable.
Most representative of that period is “Mr Creeper”, the third song on the tape, and her first song to gather substantial attention and radio spins in her Abuja locale. Produced by Tay and featuring an outstanding rap verse by Suté, the song is a glassy-eyed diatribe against trifling lovers, over a warm combination of lightly threaded piano riffs and groovy, mid-tempo Afropop drums. “Mr Creeper” highlighted Lady Donli’s burgeoning pop sensibilities decently.
Her second time around, though, the music was sonically focused. By contrast to the paint by numbers output of ‘Love or War’, 2015’s ‘What is Perfect?’ is far more stripped down and showcases Lady Donli’s improved vocal control. Relying on an earthy mix of contemporary R&B and Soul-inflected Afropop, the 10-song mixtape is an intimately crafted set brimming with smouldering, subdued grooves. Kyrian Asher’s blinding spoken word performance on opener “Ne Plus Ultra” is scored by chipmunk samples and hip-hop drum breaks; the Odunsi-produced “Dead Roses” pairs a lead acoustic guitar with clattering percussions; while the Tim Lyre-assisted “Love on the Moon” is set to sombre piano strings and booming 808 bass.
In the same vein as her debut mixtape, her writing remains grounded in a lived-in ideal on ‘What is Perfect’, this time around with an emphasis on the inquisition. Spliced in between personal musings and love songs closer to the blue centre, voice notes from friends attempting to reply the album’s titular question is scattered around for coherent, cinematic effect. Adding up to a wholesome experience, the tape signifies the curatorial nous Lady Donli has continued to brandish and sharpen with every project since.
By her third project, Lady Donli was becoming a bigger deal. The emergence of SoundCloud as the main digital space for music discovery, at the time, was organically helping artists build a community of supporters. Being a notable face of the rebellious Alté generation that was using SoundCloud as its breeding ground, the singer began to amass wider interest. In late 2016, she’d release her ‘Wallflower’ EP, a breakout project that effectively sealed her status as a supremely talented prospect.
Opting for an astral Neo-Soul vibe, ‘Wallflower’ cast Lady Donli as a more evocative singer, beyond the Erykah Badu influences. Over its six tracks, Donli possessed a stronger perception of self, expressing a mood board of emotive subjects grounded in honest introspection, and heightened by scented production. The AYÜÜ-assisted “ALICE” is a self-reassuring cut that emphasizes the superpower in being different, over Tay’s shimmering guitar chords and slow rolling percussions; Odunsi features on “Lie to Me”, a song on which both singers evaluate and expel bad energy from their surroundings, buoyed by Mvgicsoul’s soulfully robust beat; and on “BOBBY BOBBY”, Donli gets superficial, detailing her imperial need to stack her chips.
‘Wallflower’ instantly became Donli’s magnum opus. But to avoid being pigeonholed by the EP’s widespread acclaim, she decidedly made a pivot on her next trickle of singles. Towards the middle of 2017, she’d release “Ice Cream”, a colourful, sun-soaked song about the addictive sweetness and ephemerality of new love, with vocal assistance from Tomi Thomas. As “Ice Cream” quickly became her first low-key hit single, she put out the infectious, ebullient “Poison” in November of the same year, further stressing the efficacy of her pop abilities.
In December 2017, she’d throw another curveball, releasing ‘Letters to Her’, a 6-song set with a narrative centred around a romantic heartbreak. Linearly sequenced, the EP follows Moonchild, the story’s protagonist, as she comes to terms with the reality of losing her partner. Impressively crafted, each song lands on subsequent points of the Kubler-Ross grief cycle, supported by the immersive, alternative soul soundscape Garvie entirely produces. On “Spell”, her devotional lyrics over aqueous guitar harmonies and hip-hop drums elicits denial; the astringent groove and Lady Donli’s vindictive quips on “Roses For K” lands on the anger stage; and acceptance comes on “Candy”, a gorgeous, bittersweet acoustic ballad with Tay.
In the twenty months since ‘Letters to Her’, Lady Donli has been taking dedicated measures to nurture her career into full bloom. Creating her own performance spaces, the singer embarked on ‘The Living Room Tour’ in the first of half of 2018, literally performing in people’s homes to small groups of fans. During that same period, she’d perform at her very first headlining concert at Lagos’ Freedom Park, subsequently going on tour at several intimate venues across Canada and USA.
With her busy schedule, the singer was only able to release two loose singles for the entirety of the year. First came “Games” featuring GJTheCaesar, a cut that straddles the line between heartfelt soul and premium dance music, then “Classic” with Kida Kudz, a spat between two lovers, delivered over sleekly produced acoustic Afropop. In between both singles, though, was an important feat: her collaboration with Mr Eazi on “Lagos Gyration”, the intro song to the superstar’s ‘Lagos to London’ project.
Clocking in at less than a minute, “Lagos Gyration” is painfully short. But with its vintage Afro-Funk groove and quaint vocal filters, it was a clue as to where Lady Donli was headed for her debut album. Influenced by storied styles of Afropop, her singles so far this year, have showcased a clear sense of direction. Lead single and hustle anthem, “Cash” sits on a delightful Highlife-fusion bed; loose single “Comforter” taps inspiration from the kitschy, early ‘00s-era of Nigerian pop; and poverty rebuking jam, “Suffer Suffer” features nostalgic Afro-Folk instrumentation, and is accompanied by early ‘00s Nollywood-inspired lyric video.
In the last six months, Lady Donli has been effectively marking out territory with each rollout hint, laying a charming precedent for a potentially peculiar opus. With her propensity for context-inspired project titles, it seems valid to infer that ‘Enjoy Your Life’ will be Lady Donli at her most jovial. While a heavy dose of tension is present on a lot of her best work so far, her proven ability to follow through and evolve while experimenting, points to a reinforcement of the features that make her an increasingly compelling artist.
Over the last five years, Lady Donli has passed around HulkShare links, made the customary transition from rapper to singer, and become one of the most inventive artists around. It’s time for her to enjoy her life.
See the tracklist for ‘Enjoy Your Life’ below.
Here’s my declaration to you all as I drop our album tomorrow. Also heres the tracklist
#EnjoyYourLife pic.twitter.com/b5GmGpN17q
— Z. (@LadyDonli) August 8, 2019
Featured Image Credits: Instagram/ladydonli
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ICYMI: LADY DONLI TALKS COUCH SURFING IN LAGOS, TOURING AMERICA AND FEELING HOMESICK
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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