If you grew up in a Catholic home where your Saturdays were spent in catechism lessons, and had to go to mass at 6:30 am every Sunday, you’ll understand why I grew up to hate anything to do with church, God and organised religion. The older I got, the more freedom I had to stray away from the church, and subsequently also from God since that was the only avenue I was taught to reach Him through.
In these confusing ‘Rona times however, everybody is looking for a bit of grounding, a safety blanket in the wake of our current reality, and I seem to have found God again. Without particularly looking or even meaning to, I found God in between the lines of Roddy Ricch lyrics – hear me out.
A few months ago, we discussed with a few young Nigerians about what drives the strengths or weaknesses in their faith and belief, exploring the different avenues to their decisions. As a generation, we don’t have the same religious foundation our parents and grandparents had, and we’re more open to finding different means outside of religious institutions to being grounded in a higher being. This is largely thanks to having grown up adapting to different cultural advances, with access to more information than older generations did, which makes us more open-minded and willing to challenge ‘the way it has always been’.
The ‘Rona has brought about a time of heightened feelings, everybody is living in fear and anxiety about the world as we know it changing. Everything is slowing down and as a result, I’m not just playing music in the background to drown out the blaring horns as I drive in traffic, or when I need to focus on work and silence the thoughts in my overactive mind. I’m actually listening, and the presence of prayer is something that has stood out to me in most things I hear. From reflective hip-hop to danceable afropop, artists are turning to God in times of temptation and turmoil, using their songs to either request for provision and forgiveness or as a means to give praise and thanks.
DMX is one artist who has never shied away from his proximity to God, even through his most troubling times. Outside of his music, he’s been actively evangelising in churches, on the streets, and most recently through Instagram Live. A few weeks ago, he spent a few minutes preaching messages from a bible passage, asking viewers to join him in a prayer to accept Jesus as your Lord and saviour. Every X project has had a gospel message in at least one song, and if we go all the way back to his debut album, ‘Its Dark & Hell Is Hot’, we see him presenting himself humbly to the Lord on “Prayer”. In this spoken-word piece, DMX is questioning his pain and asking God whether he was born to lose or is being taught a lesson, and this is something most people in pain –whether physical or emotional – can relate to.
In the same breath, when you listen to an artist like Bella Shmurda’s debut album ‘High Tension’, on the intro track “Ginger Me”, he’s presenting a similar sentiment, calling upon a higher being to comfort him through his confusion and tell him everything is going to be fine. The album’s lead single “Omnipotent” is also a loud cry for God’s protection, where chants “sheybi iwo lo’n sho mi?” (I know you’re looking over me) on the hook. From two completely different worlds, what ties these two artists together is the music and their pain, which they illustrate for listeners to interpret in their own way.
Outside of songs that are quite clearly aimed at praising God, sometimes one can recognise little details that feel like it’s God talking directly to you. Earlier on, I mentioned that I found God in between the lines of Roddy Ricch lyrics and I wasn’t joking. Somewhere between his “Prayers To The Trap God”, him speaking about his penthouse with a bird’s view through “God’s Eyes” and the absolutely perfect incorporation of a church choir on “War Baby”, I became envious of the faith he had in God through the perilous times he raps about in his debut album, ‘Please Excuse Me For Being Antisocial’.
I had been listening since the album dropped in December, however, all this quiet time made the music stand out even more, and it was almost as though I was hearing the songs for the first time. Perhaps it was the fact that I was able to relate to how unsettled he seemed to be – even though his reality very different to mine, or that I was just not paying attention to the lyrics before. Regardless, in the same way Roddy needed God, I found that I did as well.
When Skepta, Chip & Young Adz dropped ‘Insomnia’ last month, one song that stuck out the most was “Traumatized” where they detail all the pain they harbour from the trauma of their past lives. Chip ends the hard-hitting song about drug dealing, loss and gang activity with a little prayer he says at night for God to help him beat his addictions, and alleviate his post-traumatic stress.
Future’s “Trap Niggas” starts off saying “show us the way, and if you can’t show us the way, then forgive us for being lost”. On the chorus which became a chant that year, he personifies his gun as God’s protection and also takes the abundance present in the bleak situations they live in to mean God’s blessings. Similarly, on “Oluwa Lo Ni”, Wizkid is convinced that him amassing all the wealth and success he has, given that he’s coming from “one jeans, one shirt, and that same shoe” is only by God’s grace.
When I’m feeling a bit unsure of myself, I play “Keys To The Kingdom” which feels to me like God reminding me who I am. Tiwa Savage’s soft vocals telling me that I have to face my past to grow from it, and Mr Eazi telling me I’m ‘the king inna the kingdom’ pump me with the fuel I need to keep going even when I don’t feel like it. This is exactly what I imagine the power of prayer is, and it’s interesting to have found it through music.
Afropop has always managed to incorporate messages to God without being preachy and in-your-face about it, and you’d be hardpressed to find an artist who hasn’t dedicated at least a few songs to thank God for how far they’ve come. When you listen to a song like 2Baba’s “Thank You Lord” or Tiwa Savage’s “If I Start To Talk”, you feel the presence of God.
The fact that I seemed to feel God in these secular songs, gave me more faith in the fact that there is a God, despite the things that made me sceptical in the past. Through music, I found a different approach to seeking God out, in a way the church and organised religion never managed to my whole life.
There has always been a strong connection between music and the belief in a divine power, and God’s presence shouldn’t be limited to where he ‘ought to be’. The fact that artists like Kanye West have built up even more success after turning to God, in the same breath that Sinach, a bonafide gospel singer, broke barriers by being the first black person to break a record on Billboard USA should mean something.
Prayer is a humbling opportunity to set our struggles at the foot of a higher being, and the entire world would agree that we need to now more than ever. It shouldn’t have a particular shape or form, because, the pain you’re looking to alleviate doesn’t take any particular shape or form either. As far as I know, God is everywhere, and He’ll come and find you wherever you are, even if it’s through your speakers.
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Damilola is the HBIC around here. Don’t tweet at her @damdamxx
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...
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.
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...
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.
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of...
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 accompanyingmusic 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.