How the music in ‘Living In Bondage: Breaking Free’ aids the storytelling
A look at how film and music can come together in the future
These days, Netflix is ensuring that we don’t miss new Nollywood releases after they go out of cinema, and the latest addition to their catalogue is Ramsey Nouah’s directorial debut with Living In Bondage: Breaking Free. After many years of teasing, last year, we finally got the sequel to what is popularly known as the first Nollywood film; Living In Bondage, and it certainly lived up to all the hype.
The sequel follows the story of Nnamdi Okeke, a young man who can’t seem to ever get it right and falls flat on his face every time he tries. While he’s deep in the trenches, he meets a certain Richard Williams (played by Ramsey Nouah) who turns his life around with robust job opportunities and access to the best life he could only imagine prior. But the gag is, he has to pay a price for it, and Nnamdi doesn’t seem to quite be down for the demands made when payday comes.
Living In Bondage: Breaking Free, benefits greatly from CJ Obasi & Nicole Asinugo’s fantastic screenplay, as well as Ramsey Nouah’s excellent direction, and shows how far production is Nollywood has developed. It’s the right amount of classic Nolly-horror, drama and comedy, which manages to appeal to both the older audience who would have enjoyed the first one and also to a younger audience who were probably not even born when it was first made.
Set in modern-day, the film had everything you would expect from contemporary Nollywood, and what stuck out the most to me was the soundtrack, which aided the storytelling in more ways than you can imagine.
We’ve come a long way from when the soundtrack for Nollywood films were mostly only the score which set the mood of impending doom or even when there’s the one hit song used throughout the film to break up the scenes. This shows how we’ve moved into times where actual music is being used to aid storytelling and the importance of music supervision as a whole.
Right from the opening scene, you can already tell that music is an important part of the storytelling, as the film opens up with a little girl singing ominously, which in the end plays a pivotal part in the entire film’s plot. In the next scene, we’re introduced to a jovial Nnamdi hitting the club before the riches, with Olamide’s lively “Wo” playing in the background while he and his friend are trying to catch some rocks.
Living In Bondage II was set in 2019, and it would be no far cry to hear Olamide’s “Wo!” in the club even though it was released back in 2017. In this scene, however, the music is quietened while Nnamdi’s character is introduced to us, and we learn about his ambition and plans for a bigger future and is turned up while he tries (and fails) to get into the VIP section in the club. This song choice early on in the film already makes the storyline convincing to entice viewers, in addition to the fact it’s also very different to what we usually get from Nollywood club scenes, which usually go on for about five minutes with the one song playing the whole time. Rather than being the focal point of the entire scene, the song serves as an accessory to the story.
Later on in the film when Nnamdi first meets Richard, Illbliss’ “Bank Alert” commands your attention when Richard hands Nnamdi the keys to his Ferrari to take a spin and give him a taste of the good life. The song continues as the car zooms down Ademola Adetokunbo Street in VI, set to just the right volume as Richard is explaining to Nnamdi that in life, he has to seize the bull by its horns. This song would be considered an old song at the point when the film is set, however, it fits right into that particular scene and I could definitely imagine seeing a white Ferrari with the top down blasting the song on that street.
When Nnamdi gets on Richard’s private jet to Durban, Olamide & Phyno’s “Nobody’s Fault” comes on, where the two rap about going from rags to riches, as we see Nnamdi living lavish, popping champagne on a yacht, in a vintage car, and signing documents to seal his success. This is a very different vibe to the Olamide song which was played earlier on in the film before the riches, and the difference between the feel-good “Wo”, and the pensive and thought-provoking “Nobody’s Fault” sort of sets the scene. Phyno says in the song, “But nobody ever told me it’s not as easy as it seems” and this seems like a foreboding of what unravels in Nnamdi’s life for the rest of the film.
When he’s fallen in love with Kelly (played by Muna Abii), we hear the love song, “Tene” by Larry Gaaga and Phyno, which again fits the mood of their amorous exchange, while we’re watching them sit on the phone for hours and running on the beach in typical Nollywood fashion. By the time their relationship has blossomed and they’ve reached the stage of consummating it, the deed is soundtracked by Styl Plus’ “Olufunmi”, which if like me, you still cringe at watching Nollywood sex scenes, you’ll be distracted by the classic and sing along.
Background music in film and tv is meant to capture the listener’s attention and carry the story along in place of dialogue. In Nollywood, music is normally an added on extra, and rarely ever plays a part in the story or in relation to its characters. It’s interesting to see that Living In Bondage does this so well, and we would like to see more deliberate choices in more films to come.
Since social distancing requirements have restricted the standard revenue stream for artists in these parts through performances, movie soundtracks and music supervision could be another revenue stream for artists and producers in these times. In light of the current pandemic, which is changing life as we know it in every aspect, it would be interesting to see how the film and music industry can come together in light of this, especially with the likes of Netflix investing in Nigerian film.
Living in Bondage: Breaking Free is now streaming on Netflix, make sure you check it out this long weekend.
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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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