For the Girls: It’s finally time for Nigerian rap to embrace its women
This era may very well be remembered as a revival for women in rap
You’ll probably remember the effect Meek Mill’s “Dreams & Nightmares” has on niggas in the club, when the DJ spins the track. Everyone goes crazy, they’re all rapping along to the hopeful, yet brag-filled rhymes and it’s fair to call the track an anthem, even after 8 years. I’m very certain that if clubbing was still a thing, Beyoncé and Megan Thee Stallion’s “Savage” Remix would have the exact same effect on women. There was a collective joy the night it dropped, especially considering that before the song dropped and lifted our spirits, we had a heavy day of abusers being exposed and old wounds opening up again.
Hip hop is one of the most digitally consumed genres of music globally, so much that they’ve since been integrated as popular music and are dominating the charts with ease (Roddy Ricch’s The Box is still in the top 10 on Billboard’s Hot 100). In Nigeria, however, that’s not quite the case, and the rap scene doesn’t quite enjoy many of the same benefits in popular culture and mainstream acclaim. Regardless of this, you can probably mention ten male rappers from Nigeria who are still active today with ease but will probably struggle when it comes to naming girls who rap in the same breath.
That’s telling of the ugly truth that the scene is overwhelmingly dominated by men, and women are still waiting to have their voices heard within an industry which rarely champions them. It’s interesting that men have used women as the subject of their music and created a narrative for us through their perspective for as long as time has existed, yet aren’t quite so open to letting women into the scene to actually speak for themselves.
Regardless of this, there have been female rappers who have given women a voice all this time – from the talented frontrunners like Weird MC, Muna, Sasha P, Eva Alordiah, Mo’Cheddah who set the foundation to the new generation of girl rappers like Ictooicy, Yazavelli, DetoBlack, SGaWD, Phlow, Ade Lasodé etc who are carving out space for themselves. Given the current climate towards women, especially at this very moment, there’s no better time for women to have a platform to say what they want to say unapologetically.
Last year, Jermaine Dupri aired his grievances about female rappers, stating “I feel like they’re showing us the same things. I don’t think they’re showing us who’s the best rapper. I think they’re trying to show — for me, it’s like strippers rapping.” Given that misogyny and patriarchal ideals are already deeply woven into hip-hop’s fabric, it’s not surprising to hear ignorant takes like this. When you think about the background of some of the best rappers in the game such as BIGGIE, Kendrick or Jay Z, they are narrating the life they live(d), and showing the entire world what that entails. A rapper like Cardi B or Megan Thee Stallion is doing the same thing, so it’s curious that one’s life story is revered, whilst the other isn’t taken seriously.
When you consider that this is the case in the “progressive” western world, you can understand how far behind the Nigerian music scene is in the scheme of things. We’ve said before that men use their music as a means to motivate each other, and women should be allowed to do the same. This is why the collective efforts of the new-gen female rappers are not lost, and it’s extremely comforting to see a crop of women who unwilling to compromise the right to speak their truth.
Artists like Ictooicy are breaking down this barrier, and although she’s not rapping about her sexuality, her slew of lo-fi bedroom pop-tinged rap is very important for women like her. In a world where women who express their emotions are typically labelled as either ‘angry’ or ‘bitter’, Ictooicy’s confident and honest music holds it down for many young African GenZers. One her 2019 single, “Sage” she raps about the power of speaking her mind and explicitly dispels any efforts to make her into anything she hasn’t chosen to be on her own terms. By not following the rules, she’s been able to create her own playbook that has endeared her to her loyal following (her last project peaked at the #3 spot on Apple Music’s Alternative Album chart).
One big issue in the Nigerian music industry is that we feel like rap has to sound a certain way for it to be considered real rap. Given this, people who tend to express their rap abilities over any style of music aren’t considered rappers, and if even the men suffer this, you can rest assured that it’s no different for women.
For the majority of the past two decades, female rappers were almost made to fuse some elements of afropop into their rap, in order to stay relevant in the industry. Nowadays, however, given how much has changed in the industry, women don’t really have to jump through the same hoops as the ones before them did. The order of the day isn’t dictated by gatekeepers anymore – we have realised that you can’t see a glass ceiling and are smashing through them and breaking into closed doors.
Rap freshman, DetoBlack made her debut with what seems reminiscent of Nicki’s verse on “Monster” in Odunsi the Engine’s sex-positive number “body count”. With her slick tongued lyrics, she calls all the bad bitches around the world to assemble, culminating in many TikTok videos surfacing online in the weeks following its release. She came in with the force of a seasoned rapper, stating her claim unapologetically and might not even realise how much she has set the tone for the generation of women who will come after her. Sexuality in hip-hop/rap has always been used as a means to objectify women, but by reclaiming that narrative and shooting her middle finger back at the boys, DetoBlack is empowering the next set of women to consistently speak on these topics that are typically shunned in these parts.
In the same breath, we have rappers such as Yazzavelli who have been towing a similar path for quite some time, and her debut project ‘Velli’ showed off her confident delivery alongside her carnal desires. We also have Ms Fu, who always bares her soul, and did a great job explaining how tired we are of the patriarchy on Kojo Cue’s “From My Sisters”. We also have Phlowz, who recently switched up her rappity-rap tone in her latest project ‘Marmalade’ , and we also have Abuja-based rapper and singer, SGaWD dishing it out as it is.
Thankfully, we’re slowly shedding the archaic belief that only one woman can be on top of the game at a time, especially with the current class of female rappers ready to show their each other support and the growing community being fostered amongst them. Women are wising up to the fact that we’re all fighting the same fight and feeding into the staged-drama from critics to fans alike, which doesn’t eve particularly give you a seat at the boy’s table. We need to be coming together and nurturing a more collaborative atmosphere amongst the women in hip-hop/rap because we’re oftentimes our only allies.
Women are currently fighting the good fight for the emancipation of our experiences, bodies, and society’s expectations of us in every walk of life. The strongest weapon these women have in their arsenal is their individuality, which will appeal to many women all at the same time, whilst showing off a vast and diverse range of talent and sonic quality. Gone are the days of constricting personas, and gatekeepers telling women who they have to be liked and heard. Their main audience – other women like them – should understand each person’s place, and that we’ll have women like Ms Fu and Ictooicy who will validate our feelings and talk you through your healing, whilst the DetoBlacks and Yazavelli’s provide us with twerk-ready anthems.
It feels like there’s more room than ever for women to do whatever they want. These women are not waiting for anyone’s permission to navigate typical Africanness, and the audience is also welcoming them as soon as they come forward. They are taking up space unapologetically, and it will be interesting to see how ready the wider Nigerian audience is for this.
We’re at a point where every minority group is demanding fair treatment, and given this, as women, we’re more receptive to anything that feeds into this narrative. We’re here to listen, and the women who are making music in this era may very well be remembered as a revival for women in rap and a cultural reset. Ignore them at your own loss.
Featured image credits/NATIVE
Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_
ICYMI: We’re witnessing a dominant new line in the afropop vanguard
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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