What is the long term significance of these rap beefs to Nigerian Hip-Hop?
There's a lot of attention on the rap scene right now!
In the past few months, the Nigerian rap scene has witnessed a relentless series of beefs, and with it, a lot of attention. It all seems to have started with Blaqbonez’ late June appearance on Aktivated Sessions, where the rapper performed a verse, mouthing off at other Nigerian rappers and declaring himself the ‘Best Rapper in Africa’.
As a result, we got a slew of diss tracks from artists such as Tentik, Payper Coreleone, Vader the Wildcard and Meji, contesting Blaqbonez’ bold and ambitious claim as the best rapper on the continent. While the 100 Crowns rapper released “Best Rapper in Africa (BRIA)”as a one-size-fits-all reply, the target for most other rappers was on his back.
Two weeks ago, ex-YBNL affiliate, Davolee released the vitriolic, “Giveaway”, which saw him taking shots at a long list of rappers, with his main contact points being Blaqbonez and DMW rapper Dremo.
Seemingly focused on pushing his latest single, “Shut Up” Blaqbonez didn’t reply on wax, and instead, he opted for the social media attack, which is also fitting to his larger-than-life personality. Dremo, however, took a different route and responded with “Scapegoat” in just over 24hrs of being called out, which was responded to with Davolee’s “Lightweight” the next day. Dremo pulled no punches, and managed to have the last say in this spat with “Scapegoat 2.0”.
With their no holds barred approach, and the rapid fire speed of responses, the Davolee-Dremo back-and-forth had all the elements of a thrilling beef, however, it was overshadowed by the ongoing, headline-grabbing row between A-list rappers M.I Abaga and Vector.
Apart from being pitted against each other by fans, both rappers have fanned the flame of a potential beef for the better part of the decade, taking interpretation-based digs at one another. It finally flared out last month, with Vector explicitly swinging at M.I on “The Purge”, a three verse rap song featuring rappers Vader the Wildcard and Payper Corleone.
Since then, the rappers have taken each other head on, with Vector’s latest shot being “Judas the Rat”, and M.I’s “The Viper”. As this exchange has gone on, it’s nearly impossible to navigate Nigerian Twitter without seeing discussions around released tracks, upcoming responses and other antics. This shows the ability rap beef has to generate quick, widespread attention, especially when the stakes are deemed to be high.
For a scene which isn’t enjoying too much mainstream appeal, this moment is the highest level of interest rap music in Nigeria has garnered in recent times, roping in enthusiasts and casual listeners alike. While this series of events has renewed the energy of conversations around rap music in Nigeria, one can’t help but to wonder what long term effects this has on the industry, when tensions eventually dissipate.
Will rap continue to command this same –or at least, a respectable– level of fanfare, or does it mean there has to be some form of controversy for Nigerians to tune in?
A similar scenario that emboldens this question is M.I’s “You Rappers Should Fix Up Your Lives”, a contentious song that received instant attention from all quarters. Eager fans debated the validity of M.I’s sentiments that his colleagues were “under-performing”, and it inspired a long list of response tracks.
For the first time in a while, “YRSFUYL” pushed conversations around rap music to a mainstream level, but only held a brief stint. Since then, it’s been rinse-repeat, with Nigerian rap mostly earning wide attention with dramatic events such as this, Blaqbonez’ aforementioned claims and the Martell Cyphers.)
Currently, Nigerian rap mostly exists in a place of sensationalism, which says a lot about using controversies to wrestle temporary spotlight. Earlier this week, MTV Base ran a face-off segment between M.I and Vector, alternately playing videos from both rappers. For some, it was a positive thing to see a popular cable channel run consecutive rap music videos, while others saw it as an indictment on the fact that rap music doesn’t command that type of airtime on a regular basis.
Nigerian rap scene running on pure toxic masculinity. The fans are loving it lol.
— RAP MESSIAH (@LadiPoe) October 5, 2019
There’s a running belief that rap music is not commercially viable in Nigeria. Merging this outlook with the attention from recent controversies, it suggests that it’s a ‘viral or nothing’ situation for rap music to be sustainable in Nigeria. In the post-digital age where people look for new thrills every day, this is a dire position to be in.
Even if the novelty doesn’t run out, it is grossly reductive for rap music in Nigeria to only be looked at as a place for disputes and drama. In a bravado-fuelled genre like rap, beef culture is a cornerstone and a facet of it, not the foundation on which to build a thriving hip-hop scene.
Controversy will draw people in, but it might not necessarily make them stay.
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
ICYMI: JOEYB’S “LA FAMILIA” IS A CONTENDER FOR HARDEST AFRICAN RAP SONG OF THE YEAR
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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