5 Standout Songs From Mafikizolo’s New Album, ‘Idwala’
A shimmering display of tallent and alliance
Mafikizolo are titans of the African music space. Formed by composer Theo Kgosinkwe and singers Nhlanhla Nciza and Tebogo Madingoane in 1996, the group’s eponymous debut album was released the following year. Before 1999 when their sophomore album ‘Music Revolution’ was released, the group were famed for embedding Kwaito’s distinct groove onto broader genres. A trifecta was completed with 2003’s ‘Kwela’, an album whose title track featured the legendary Hugh Masekela and went on to become a great commercial success, firmly imprinting Mafikizolo among the greater figures of contemporary South African music.
View this post on Instagram
Ever since, sonic excellence and hard work has been defining traits of the duo. Following the untimely passing of Tebogo in 2004, the remaining members of Mafikizolo took a break and returned the next year. It’s been seventeen years since their fourth album, and they’ve clocked in eight albums in that time. ‘Idwala’, the latest of those, was released only last Friday. Translated into ‘rock’ in isiZulu, it advances the group’s collaborative vision—only this time, they’re more in-tune with popular music than ever before. Collaborations include Sjava, Ami Faku, Zakes Bantwini, and Sun-El Musician, among others.
Curating a five-songs list is definitely hard, because the album is a sonic treat. Each song glitters with visceral production, and the accomplished voices of the musicians doing great justice. Jazzy, electric, and colourful are some descriptors that come to mind, but you’ll have the time to make your own selections. That said, these five songs aren’t necessarily the best songs—they rather evoke the variance of the album’s tapestry.
“FATELA”
There are songs and there are songs. “Fatela” is that song. Right from the opening seconds, there’s a rustic element shimmering at its core. The drums are really alive and groovy, like there’s a party happening somewhere. You’ll find this quality of production elsewhere on the album, but there’s a familiar yet strange feel to this particular song. Classifying its genre is another task, as House blends into contemporary Jazz, and some shades of Indian-esque progressions. The singing polishes the record’s brilliance, bouncing with joyous inflections and the captivating hum at its centre, a childlike presence which elevates the feeling into something transcendental, yet ephemeral.
“NGEKE BALUNGE”
This was a pre-album single and an excellent one at that. Countless times since 2020, I’ve allowed its slow groove wash over me like an ocean’s waves. Soulful strings and steady drums form the sonic bedrock, and those roll in the deepest into your psyche. Even before the duo’s voices are introduced, this soundscape is immersive and somehow personal, bending to accommodate whatever stories the listener might have. The actual meaning however weaves the tale of two young lovers who are the focus of society’s unwavering eyes and criticism. “They won’t succeed, they won’t finish us,” goes the chorus, “because this love obviously cannot be overshadowed.”
“ABASIYEKE” FT. ZAKES BANTWINI
You’ll find collaborations are left and right on this album, but “Abasiyeke” instantly stands out. Even before Bantwini’s dreamy vocals swirl alongside Nhlanhla’s, the set mood is dusty, colourful, and made to sound interstellar through the glitter of its drums and keys. Chants of “abasiyeke, abasiyeke” blend into the production, dipping and rising in tempo to accommodate the verses. Community was perhaps the driving ethos behind this record, because it sounds made for sharing—sharing its fun vibe through a party, in a dark room full of friends, or on TV, where its yet-unmade visual would be full of smiling, dancing, and perhaps a logfire.
“10K” FT. SJAVA
A slow, soulful feel permeates the bones of this record. It’s a winter-esque craving for someone’s love, imbued with all the longing and listlessness associated with that cutting feeling. The tone of the singing carries that looking-out-the-window vibe, its pacing supplied by the stripped production. This record’s mood is very reminiscent of Sauti Sol’s “Girl Next Door,” though the gender perspectives are flipped and here it’s Sjava delivering a winding, poignant verse. He flexes his famed versatility, dipping into Trap cadences while maintaining the homebound inflections and words from isiZulu. As far as R&B goes, this is probably the most traditional of the records and like most songs off the album, it sounds wrapped in a time capsule.
“KWANELE” FT. SUN-EL MUSICIAN & KENZA
Imagine a dancefloor swirling with coloured lights, the conversations rising in dark corners, the smell of alcohol, the feet of people dancing, and yet somehow, every activity seems ordained. If one of them were to stop, the scene’s magic would be instantly subdued and watered down. That’s the associative mood of “Kwanele,” which is perhaps my favourite record on the album. A lot has been said and written of Amapiano’s intricacies but South Africans are great music makers, period. Here those signature drums are slowed, paired with Disco-esque synths and progressions. Along with the soothing tones of the singers, an ethereal record emerges. It is dreamy but still closely rooted in painful experiences, you can tell, and the sparse spaces in the verses allow the beat to breathe, to allow its seamless entry into the depths of one’s heart. A truly beautiful song.
ICYMI: READ OUR TAKEAWAYS FROM M.I ABAGA’S ‘THE GUY’
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.
Keep reading...
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.
Keep reading...
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.
View this post on Instagram
Keep reading...
