NATIVE Team Picks: The Best Music Videos of the 2010s
The most culturally impactful videos of the decade
In late 1979, British synth-pop band The Buggles released their magnum opus; “Video Killed The Radio Star”; a Nostradamus level take on the future of music consumption. Whilst they were referring to the increasing popularity of the television, the title could be updated in 2019 to “Youtube Killed The MTV Star”, and it would be equally factual.
This shift from television sets to YouTube has achieved what every technological advancement in music has done in the last decade: cut out unnecessary barriers to entry. Artists no longer need to hope they make the Channel O countdown, or the TRL hits of the day – anyone can simply upload videos directly to Beyoncé’s Internet, and everyone has access to it.
But with fewer boundaries, comes more filler. Whilst a music video was previously a necessary accompaniment to a lead single, they have become an even more powerful way for an artist to introduce us to their creative worlds. Although it’s not new to this decade, it can’t be denied that since 2010, we’ve seen greater attention to detail and a refreshed laser focus to the the visual art form in Nigeria.
In the last three years especially, we’ve seen some of the strongest music videos we’ve ever had out of the country, and it has ushered in a new generation of young, fearless directors such as Santi, TG Omori, Ademola Falomo, Meji Alabi and more. Where last decade, the videos released in that time didn’t have crossover power, the internet has broadened the reach of these music videos, and have contributed to the appeal of Nigerian artists all over the world.
So as we draw the curtains on the 2010s of Nigerian music, the NATIVE team came together and made a list of all of our favourite music videos through the decade. From the beginning of Wizkid’s career, “Holla At Your Boy”, to Santi taking us on a cinematic experience with the visuals for “Raw Dinner”, here are our picks, in chronological order.
“Lagos Party” – Banky W (2010)
Featuring one of the most iconic hooks of the decade, this Kemi Adetiba-directed video was the perfect welcome into the 2010s, especially looking back now at some of the cameos – Wizkid, Omawumi, Jesse Jagz, P-Square- and the success they’ve had since 2010.
This song was released at peak record label dominance – following the Storm and Mo’Hits runs, EME was the next stable to make you wish you were part of their clique. All the hallmarks of an early 2010s videos were seen within the first 30 seconds: Oversized mansion – check, champagne being poured – check, a seemingly over-formal dress code – check, cut-aways for the verses – check. This video set the tone for what was to come in the early 2010s, and watching it back now, it really wasn’t too far from what Lagos Parties were (and still are!).
“Holla At Your Boy” – Wizkid (2010)
Beyond his reverence in the music scene, we don’t really discuss Wizkid’s influence in the fashion scene, and this has been the case right from his breakout. In his debut video for “Holla At Your Boy”, he’s in school flexing his boyish charm to a love interest.
Many young boys/men could relate to Wizkid around this time, so much that they often also dressed like him. This Patrick Ellis-directed video shows the starting point of the era of multi-coloured inscribed t-shirts, colourful skinny jeans and plaid shirts in the 2010s. Throughout the decade, Wizkid has made several other trends pop in these parts, whilst also making strides in the global fashion industry from walking the Dolce & Gabbana runway alongside Naomi Campbell to modelling a capsule collection for Moschino x Ciroc.
“Mr Endowed Remix” – D’Banj ft Snoop Dogg (2011)
Before the Nigerian music scene evolved into what it is today, D’banj & Don Jazzy ushered in the decade with a Snoop Dogg feature, which they also managed to get a video featuring him in Atlanta.
D’Banj, Snoop Dogg and Don Jazzy exchange flows in a lavish Atlanta mansion, showcasing the pomp and swag we see in many other videos to follow throughout the decade from Davido’s “Fans Mi” to Naira Marley’s “Ma Fo”. This Sesan-directed video is definitely a worthy jewel to crown one of the most dominant runs in afropop history, and is a foreshadowing of sorts of the shift in culture we’re currently experiencing.
“Be My Man” – Asa (2011)
The accurate choreography, vivid colours and a funky retro vibe of Asa’s video already set her apart from her counterparts all the way in 2011. Many other videos in Nigeria at the time we’re quite the standard of an Asa clip, and we’re still enjoying picturesque visuals from the enigmatic star today.
While this wasn’t directed by a Nigerian filmmaker, it definitely upped the ante for those back home and having introduced us to the talent of directors like Meji Alabi, Asa’s contribution to the music industry wasn’t limited to just the music alone.
“Azonto” – Fuse ODG (2012)
Viral dance moves are a part and parcel of West African pop culture, and this has been the case for a very long time. Back in the day, we had popular dance steps like Galala and Makossa, and now this decade from the Azonto to the Zlatan-invented Zanku.
Fuse ODG’s “Azonto” came at the time in the decade when we were shifting to the Internet full time, which immediately gained him attention of West Africans from all over the world.
Dance moves tend to inform the kind of songs we’re getting, as musicians tend to want everyone doing the most popular dance to their song, and the Azonto shaped the sound of a few popular songs at that time. While now, it has been replaced by a more trendy Zanku, other dancemoves such as the shoki, shaku shaku and now zanku, they certainly have the azonto to thank for lighting the way.
“Khona” – Mafikizolo (2013)
Mafikizolo have managed to survive two decades in the game, and in this time succeeded in organically crossing over into the continental market, most notably with 2013’s “Khona”. The song was a tribute to their late bandmate, and it definitely left a lasting impact on South African House music, which has also laid the foundation for the street-hop sound in Nigeria today.
The emotive vocal performance from the band made “Khona” resonate with listeners, while the traditional costumes and art displayed in the video is what successfully bridged the gap between the continents. One could even say that the dashikis in the video also influenced a spark in the trend around that time, which became the trend for Africans, even in the diaspora.
“Pata Pata” – Temi Dollface (2013)
Temi Dollface had a hot moment on the scene, and that was all thanks to how carefully curated her bold and daring looks were. This is what makes her video for “Pata Pata” one of the decade’s standouts, as at this point in the culture, we weren’t getting such thoughtful and careful creation.
With an extensive wardrobe and daring make up, “Pata Pata” presents the vintage texture of a classic American commercial from the 1950s. The style in the video blends retro silhouettes with contemporary African designs, to create stunning visuals for the EDM-fuelled song.
“Onye” – Waje & Tiwa Savage (2014)
Given that this is one of the few female collaborations we’ve had in the entire decade, the song and video (which was also directed by a woman) can’t go unnoticed. In the sultry video, which is an interesting blend of Brandy & Monica’s “The Boy Is Mine” and The Stepford wives, Waje and Tiwa Savage find out that they’re being played by their lover, and end up in a face off as a result.
Although the video contains some tropes that won’t be acceptable in woke 2019, the Kemi-Adetiba video is stunning to look at, and engaging throughout its duration.
“Ojuelegba” – Wizkid (2014)
Being one of his most popular songs, which increased Wizkid’s crossover potential, it made sense that the accompanying video for “Ojuelegba” was a nod to where it all began for him. Set in the bustling area itself, the video is mellow and reflective as we watch as a simply dressed Wizkid boards a Danfo, whilst looking back on his journey to stardom. Clarence Peters does an excellent job of focusing the visual story around the narrative of Wizkid’s come up, and at the same time is giving us a love letter to Lagos to accompany an evergreen anthem.
“Gangsta Fear” – Santi & Odunsi (2016)
As one of the songs which shaped the altè scene as we know it today – featuring one of the strongest music duos we’ve seen this decade – the accompanying video for “Gangster Fear” also serves as a defining moment in Santi’s career as a visual artist. Working closely with Ademola Falomo, Santi presents us his standard scenic and colourful settings, which we’ve grown accustomed to today with videos such as Skepta & Wizkid’s “Bad Energy”, Runtown’s “Redemption”, Odunsi’s “Star Signs” and more.
The video relies heavily on the visual appeal, and we barely see Santi or Odunsi performing their lyrics throughout the video like one would in a typical Nigerian music video. However, in between the scenic cuts of picturesque surroundings, we’re shown several different people vibing to the song the way anyone viewing would be too.
“Soldier” – Simi & Falz (2016)
Today, we all know Falz as a rapper, comedian and award-winning actor, and this acclaim as one of the decade’s most dynamic entertainers was sealed when the video for “Soldier” was released in 2016. The video played into Falz’ penchant to speak about socio-political issues, as it was also a timely reference to grievance against the rife kidnappings around that time.
Falz & Simi’s joint project, Chemistry, fuelled some rumours about a budding relationship, and this video also fanned the fire. Simi’s acting is impressive, as she plays the average girl next door who dismisses Falz’ advances, a trope she’s gone on to portray in her Nollywood debut in Kunle Afolayan’s Mokalik.
“Like Dat” – Davido (2017)
Nigerian-American director, Daps is one of the nation’s biggest exports, having worked with the likes of Young Thug, Nicki Minaj, Migos, Kendrick Lamar and more. This is why it made sense that at the peak of his Back To Basics campaign, with just enough international appeal, Davido enlisted Daps for the video of one of that era’s best songs.
Paying homage to Biggie’s “Mo Money Mo Problems” video, Daps’ direction made “Like Dat” one of the most defining videos of this era, as it was certainly on the mood board for many other directors at that time, including Clarence Peters’ video for “Yé”.
“Science Student” – Olamide (2018)
Olamide’s “Science Student” certainly caught the nation’s attention with his commentary on drug abuse, and the song’s ban by the NBC also created an avenue for discourse around the topic and our country’s attitude towards such social issues. The video follows Olamide’s nightmare-ish journey through an asylum, showing us the the pitiful state of rehabilitation centres in the country, and our negligence towards the rife drug problem.
While his haphazard lyrics might not get the job done, since not everyone understands Yoruba, the video highlights everything the song says, making his middle finger to Nigerian culture and society crystal clear.
“Hate” – Zamir (2018)
Zamir has remained true to the tough-guy persona from all the way back in his LOS days. While his wardrobe choices and carefully curated Instagram page reflect the cold-hearted threats often heard in his raps, the music video for “Hate” remains the most menacing we have ever seen him.
Directed by Seun Opabisi, we see Zamir stalks his trembling foes through a room filled with gamblers, a slaughterhouse and a church. Symbolic images of floating pig heads, blood-stained walls, cop cars, and burning clothes also add to the sense of danger while Zamir perform his menacing lines.
“Alte Cruise” – Odunsi (2018)
Social media and smartphones have allowed this generation of DIY acts to find innovative ways to connect with their audience. There’s no better realisation of that potential, than the music video for “Alte Cruise” by Odunsi, Zamir and Santi. The nearly 3-minute long video is a mashup of different clips collected from different concerts and parties Santi and his friends attended.
Just as the song tributes the free-spirited nature of the alte artists, the music video also follows a similarly unceremonious direction, with the grainy images and lightweight plot that only tries to capture the face of the creatives, tastemakers and fans within the creative scene.
“Raw Dinner” – Santi (2019)
Santi has definitely left a mark as one of the most gifted visual artists this decade, and the accompanying video for one of his album’s standouts, “Raw Dinner”, completely seals this. Featuring everything we have grown to love from Santi in his hard-to-forget videos, the 8-minute short film builds a detailed story of a Demon Queen’s transformation through 6 chapters of Nollywood-inspired drama.
With the convincing costumes, acting and plot that dabbled into surrealism and fantasy, the video for “Raw Dinner” is nothing like we’ve ever seen before in the Nigerian music industry, and through this Santi continues to set the standard for artistic exploration in Nigeria, whilst also creating a platform for himself on a global stage.
“Thuggin/ Darko” – Burna Boy x DJDS (2019)
In the video for “Thuggin/ Darko” , Burna Boy explores gang-violence through gritty black and white filters and a cast of colourfully clad people performing rituals. The Daniel Regan-directed video blurs the lines between beauty and bleakness, as we watch Burna playing the role of a caretaker and gang banger who loses a dear one as a result of the gang violence he’s involved in. While he mourns the loss, the video ironically goes from the black and white filter it began with to a colourful frame that celebrates the African burial rites, making for a thought-provoking piece which serves as a good accessory to the already thought-provoking song.
“Am I A Yahoo Boy” – Naira Marley
Days before he got taken into EFCC custody, Naira Marley released the Zlatan-assisted “Am I A Yahoo Boy”, which got eyes on him very quick. Naira was no stranger to talking about his run ins with the law in his songs, however, this came at the perfect time as there was civil unrest due to the #endsarz campaign.
In the accompanying TG Omori-directed video, he built the entire set in a bid to pay homage to Snoop Dogg and Tupac in the ’90s. Given that Naira’s trajectory is playing out a little like theirs did, the video was the starting point of Naira Marley’s current dominance in the game, and in turn, led the path for TG Omori who has now worked with all the musicians he could only dream of working with earlier on in the decade.
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ICYMI: Watch the music video for Runtown’s “International Badman Killa”
Skyla Tylaa Is Taking Off
For the next phase of her career, Skyla Tylaa is actively working on creating music while entertaining with...
As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was music or stage performances, she found herself exploring these interests intently from a young age. That devotion manifested in multiple ways – her attending the BRIT School and Sylvia Young Theatre School where she performed in a West End production of Annie or her fiddling with several musical instruments while she figured out her creative identity. Through it all, music was a constant, the backdrop to her home life where she grew up between Jamaican and English influences. She remembers being exposed to Drum & Bass, Funky House, and Garage. “I think that’s had a big influence in my DJ career,” Skyla Tylaa admits.
Progressing into adulthood, those musical influences persisted even if she didn’t always engage with them professionally. Things changed when she started DJ-ing during the COVID-19 pandemic. Possessed by a visceral desire to experience the euphoria of interacting with people through music, she burrowed deeper into DJ-ing. “I couldn’t be in my room and just have people commenting,” she recalls. “I need to see people’s energy, and feel everything in the moment.”
Since then, she’s enjoyed a meteoric rise that has taken the world by storm. Mentored by DJ Tunez, she performed multiple times on the American leg of Wizkid’s ‘Made In Lagos’ tour and came out of the experience raring to go. “Opening for Wizkid on his tour was a transformative experience,” she says. “It taught me a lot about resilience and adaptability in my craft. I was still pretty much a start-up DJ when I went on tour and it made me really realise how important it is to connect with the audience. Touring from city to city with different crowds, it helped me to learn how to read the room and keep the vibe going.”
Almost as importantly for Skyla Tylaa, Rihanna was present at one of those tour stops and was impressed by her set, stopping by after the show to congratulate her. “After that I felt like I could conquer the world,” she says. Since then, she’s been selected by Rihanna to DJ at a Fenty X Puma Creeper launch event in London in 2024, marking a full-circle moment between the women.
Like Rihanna, Skyla Tylaa is inspired by music from the breadth of the Black diaspora, playing sets that take as much influence from the fervid restlessness of Hip-hop as they do the wavy melodies of House music, and the dancefloor summons of Afrobeats “I love partying! I genuinely love it,” she explains. “When preparing my sets, I’m always thinking of people having a good time. Whatever I can do to connect with them, I’m down to do it!”
In the last few years, few genres have shown the propensity for inspiring a great time with the regularity that Amapiano does. From Johannesburg to Windhoek, to Lagos, London, and New York, the log drums and mutating basslines of the genre have proven integral to a new Pop framework that is as amorphous as it is exhilarating. Since first hearing the genre while on a visit to Ghana years ago, Skyla Tylaa has been hooked. “It was the log drum, the sound, just the vibes that came with it,” she says. “I was like ‘wait – what is this?’ When you hear Amapiano, it’s one of those sounds that no matter what, you’re gonna dance.”
Diving into the genre, she’s picked up valuable lessons from important figures like Maphorisa, Uncle Vinny and Major League DJz while putting her youthful spin on the sound. It’s all coming together for the DJ who’s working with her sister, music heavyweight Jada Pollock, to figure it all out one step at a time. “When I found my passion for DJing, Jada was right there, urging me to dive into the ‘Made in Lagos’ tour,” she says. “I wasn’t sure I was ready, but she believed in me and knew I could handle it. My love for music has been with me since school; it just took some time for me to realize that this was the direction I wanted to pursue. Once I found my calling, her support became endless–she attended my early gigs and pushed me to perform at major festivals like Afro Nation.”
She’s since performed at leading festivals such as Wireless, Piano People and Australia’s Promiseland as well as selling out headline shows across London, London, and Ghana. For the next phase of her career, she’s actively working on creating music. This month, she released her debut single, “Bombshell,” a searing Amapiano banger that has all the hallmarks of a potential summer hit. “Bombshell” features Tanzanian Bongo Flava act, Diamond Platnumz, as well as South African acts, Tyler ICU, Khalil Harrison, and DJ Exit. It’s a blockbuster showing that sits well in the tradition of the genre. “The idea was initially played to me by Tyler ICU in March 2024,” Skyla Tylaa says. “He and I had a session while he was in London, and this was one of the ideas we worked on. Khalil was already on it, at the time, and I loved what I heard!”
After seeding it into her live sets last summer and starting live teasers with a dance challenge, Diamond Platnumz reached out about potentially working on the song and it was arranged. “I started teasing the new version of the song in my sets and then a whole new viral dance challenge came about online in December,” she says. “From that point, I knew the track had all the elements (features included) to be a big release in 2025 !” For DJ Exit, a chance to be part of a transformative song like “Bombshell” was an opportunity he didn’t want to pass up. “What drew me to this single was the chance to be part of something boundary-breaking,” he explains. “Gqom and Amapiano are both powerful in their own right, but fusing the raw, percussive energy of Gqom with the soulful, hypnotic swing of Amapiano creates a sound the world hasn’t fully experienced yet. This isn’t just another collaboration–it’s a cultural statement.”
The Xhosa word, ‘basazomangala,’ meaning ‘to be shocked,’ is uttered several times on “Bombshell,” and it reflects the message that Harrison was trying to pass on the track. ““Bombshell” is really about letting people know that there’s still so much more to come from me,” he says. “It’s a celebration of the present moment, but also a reminder that this is just the beginning. We’re all dancing to what’s happening now, but there’s an energy in the air that says the best is yet to come.”
In light of Amapiano’s rise to global prominence and the international acclaim it enjoys, Harrison is right about more things being on the horizon, and Skyla Tylaa agrees with him: “When I was introduced to Amapiano, I fell in love instantly and that time it was just on the verge of global appeal. It’s global now and still growing and that makes me appreciate it even more! I love it, and the world loves it! The feeling is mutual ! We can all enjoy it together!”
For Tyler ICU, having DJs from the diaspora like Skyla Tylaa engage with Amapiano and its culture is a win for the genre. “This shows the power of the genre–it’s not just a sound, it’s a movement,” he says. “When someone like Skyla, who appreciates the culture and brings her own flavour, plays Amapiano in places like London, New York or Toronto, she’s not just playing music, she’s building bridges. That’s how we grow–by letting the world feel it in their own way, but staying true to where it started. It’s important that the roots are respected, but the branches can reach far.”
Just a couple of weeks since its release, “Bombshell” has crossed over 650,000 thousand views on YouTube and continues to be a sensation on TikTok. Like everything Skyla Tylaa has done up till now in her career, it’s shaping up perfectly and has shown that she has a knack for the right collaborations. She intends to keep making music. “This year, my focus is all about music,” she says. “I recently signed with Robots and Humans (Sony) in the UK and Epic in the US, which has given me a different level of drive to really want to create good music. I’m also looking forward to exploring the Afro-house genre and collaborating with other talented artists.”
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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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