NATIVE Exclusive: Dope Saint Jude wants everyone to be “Alphas”
"I am just forging a cute, little gay path with my friends and having a good time."
Catherine (Dope) Saint Jude never thought that her music would find a home in her native South Africa. Her 2018 debut single “Grrrl Like,” has racked up over 3 million streams on Spotify alone, disrupting Africa’s ascendant music scene with honest and open confessionals about existing with all her complexities. “I know that the work is important because we don’t see a lot of representation of queer Africans,” she tells the NATIVE at the end of June.
It’s the beginning of the long summer holidays and pride month, Dope Saint Jude has just released her latest single “Alphas.” Coupled with deep basslines, twinkling keys and a no-holds barred delivery, the new track encapsulates everything the singer has to offer at a time of great innovation for the African music market: a multidimensional artist with a solid vision for her craft and an affinity for empowering women and gender non-conforming audiences.
“We’re also lucky in South Africa regarding our queer laws and it’s not something we should gloss over. I understand how great it is, that I can say something with this. I don’t take it lightly.”
View this post on Instagram
If any artist understands the sheer power of hardwork and dedication, it’s Dope Saint Jude. The June uNder alum first made her break as a drag king following a degree in Politics and Public Policy. During her time as a drag entertainer in Cape Town, Catherine fell in love with writing and producing her own original music after growing tired of lip syncs. Soon, she was making her own music which represented her experiences and held a mirror to her thoughts. “I just wanted people to feel empowered. I want people to feel like they’re the shit regardless of where they stand in the world,” she shares.
Tapping into all parts of her identity, Dope Saint Jude returns victorious and triumphant on her latest release “Alphas,” which finds her taking a deep dive into her queer roots. The central theme on the catchy new single is staying true to oneself and delivering a self-determined showcase. “Now I’m a feminist I see your inner beauty/But Ive also seen that ass and let me say that you a cutie,” she chants on the song’s first verse, inviting women, queer people and gender non-conforming individuals to release themselves and step into their alpha identity.
The video for “Alphas” is equally empowering and meaningful. Opening up with interview clips between Catherine and close friends and people in the LGBTQ+ community, the rapper questions what it means to be an alpha in today’s society. It’s clear that the singer takes pride in experimentation and she’s not afraid to present all her paradoxes on wax, allowing listeners to also interrogate their own biases and release their premonitions.
Following the release of “Alphas,” we caught up with Dope Saint Jude to discuss the track’s inspiration, her creative process and working with other queer artists to bring her vision to life.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: Hi Catherine, thanks for joining us on the call today. Can you talk a bit about your moniker, Dope Saint Jude? Where did that come from & what it means to you?
Dope Saint Jude: My name is actually Catherine Saint Jude. Saint Jude is the patron saint of loss and hopelessness. My mum named me Saint Jude because she really wanted a daughter after having 4 boys. Then I came along. She was just really praying to have a girl and that’s where that part comes in. Honestly, the Dope part because I thought it sounded cool at the time. I was very young and it just worked. I added two together and there you go, that’s my name.
Looking at South Africa more closely, the country has one of the best music scenes in the world. It’s produced genres like Amapiano, Gqom, Bacardi house, to name a few sounds. What role do you see your music playing against the backdrop of SA’s global sound as a whole?
I’d say I’m doing something in terms of developing the smaller artists in South Africa. South Africa’s music industry is still young. It hasn’t been in existence for the amount of years like the UK or France has. It’s still pretty young and only recently, the industry opened up beyond Africa following the Apartheid. The landscape of music has changed and what tends to happen in South Africa is that a lot of focus is placed on one genre at a time. There was the Gqom wave and now the Amapiano wave. There isn’t a lot of infrastructure to support smaller artists that are outside what the current wave might be. I am part of the group of artists that are trying to create space for artists that don’t fit into what is currently mainstream.
You sing, produce, write your own music and also previously performed as a drag king, how did you decide what passion of yours to focus on?
It kind of happened naturally. I went to university and studied Politics and Public Policy and I wasn’t that into it. I was drawn more towards performing, and I had been exposed to the queer community in Cape Town. I started going to drag bars and performing as a drag king. I had fun with it but I started writing music as a result because I found it a bit boring only lip syncing songs by other people. From creating my own music, I realised that I really loved the process. From there, I taught myself music production and delved into what I’m doing at the moment.
Let’s talk about your recent release “Alphas,” could you talk us through what that song means to you and how it came about?
I was recording a bunch of singles when I was in London and “Alphas” was one of them. I was trying to make music that reflects my reality. Back then, I was spending a lot of time on TikTok and I saw a lot of alpha male rhetoric which I found funny and hilarious. I just thought it was bullshit. I’m a woman who is attracted to women and I actually like a baddie or a woman who is self-possessed and powerful because that’s what I value in myself too. I value owning my identity. So, I made a song saying ‘we can both be alphas’ in a way to subtly poke fun at the alpha male movement and comment at the time about nothing being wrong with a powerful woman.
The track is a powerful anthem exploring themes of sexuality, power, relationships, feminism, becoming & more. How do these themes allow you to express yourself as an individual and as a musician?
It just helps me to make sense of my world. I think the point of art and music is to reflect the world around us. I was taking in all of this information and remixing it in my artistic way. I was providing my spin on it. I was just trying to make sense of my reality and make sense of my world. It helps me know here I stand as a person within society, but at the same time have fun with it. I am kind of past that point in my life where I get angry and fight with faceless people on the internet. I wanted to make a song that’s playful and funny but still saying its piece.
How important is exploring your raw emotions when you are working on music?
It is pretty important for me to explore what I’m feeling, but also to reflect what’s happening around me. I do focus on what I’m thinking and feeling, but I also try to think of what else is happening outside my little bubble. “Alphas” is a mixture of what I’m feeling and what a lot of other people are thinking about.
The visuals for “Alphas” is equally powerful with images of queer Africans celebrated on the screen. How much creative input did you have in the entire process?
I pretty much had full creative control of that. The process of shooting it was so fun. I put out a call for queer people to appear in the music video and we ended up having the best time. We became best friends and we’ve been hanging out a lot since then. We meet up at some other events and meet more new people. We’ve been able to build and grow the community even further which I deem really important. Art that is fresh and reflective of a community is the priority.
What was the most memorable moment of collaborating with different queer cast members from different backgrounds?
They’re all just fantastic people and learning about them was interesting. I had been away in London for five years and being back, and collaborating with the new generation of queer artists in the art scene was amazing. It was cool to see what everyone was up to, so the highlight was just the good vibes. Amazing people to be around and work with.
View this post on Instagram
“Alphas” arrived during Pride month last June, serving as the honest queer African presentation we deserve. How do you feel about such expectations from your audience?
I was making the song and it kind of happened that the release was around pride month. I would’ve made and released it anyway, I was just lucky it was during pride month. I don’t feel pressure but I also know that the work is important because we don’t see a lot of representation of queer Africans. We’re also lucky in South Africa regarding our queer laws and it’s not something we should gloss over. I think it’s good that we recognise these. Of course, people are dealing with homophobia in some parts of South Africa but there’s definitely a lot of privilege to the work we put out. We don’t take it lightly and I understand how great it is that I can say something with this. I don’t take it lightly.
How has your journey been for you, especially as a young queer woman in a notoriously male-dominated space?
I grew up with 4 brothers, so I think I’ve always had that fighter spirit. I’ve dealt with a lot of discrimination but I don’t focus on it because when you do, it can get you down. I have the tendency to look at the positives and go in the direction of people that want to be around and elevate me. People say that the Hip-Hop industry is male dominated but I’m not concerned. I am just forging a cute, little gay path with my friends and having a good time. People are either down with it or they’re but that’s not my problem. You may not be down with what I’m doing but I’m here to build community.
“I am just forging a cute, little gay path with my friends and having a good time.”
With your new release “Alphas” would you say there was any message or feeling or thought you wanted audiences to take away?
I just wanted people to feel empowered. I want people to feel like they’re the shit regardless of where they stand in the world. I know I often need to hear that. I need to listen to music that empowers me. I get those days where I listen to music to pump me up because I don’t feel like dealing with my emotions. I want to make people feel loved and deserving of all the good this world has to offer.
Music has such a steep history but most times the Black pioneers are written out of the story. As an artist, how do you honour your SA heritage but still make room for your own originality and expression?
I try to be as authentic as possible but often, in a lot of my music I have many South African sounds. I use a lot of chanting sounds that reference South African culture. At the same time, we are living in a globalised society. I’m also making Hip-Hop music so I can’t deny the fact that I’m affected by everything I’ve consumed over the years which is like American/British music. I also try to keep my authentic self when I’m making music videos. Even the words, I often use South African colloquialisms. I try to mix it all together but I won’t say that my music is purely South African because what even is that? We are all so influenced by each other from all over the place.
Are there any topics you want to explore in your music in future?
Nothing that I can think of but when it comes up, I won’t be afraid to talk about it. I feel very comfortable talking about whatever’s on my mind. When something comes up, you’d hear it in the music.
Listen to “Alphas” here.
Featured Image Credits/Dope Saint Jude & The NATIVE
ICYMI: UNDER BEST NEW ARTISTS (JUNE 2023)
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.”
Keep reading...
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...
