NATIVE Exclusive: The Many Faces & Voices of Dwin, The Stoic
a master of ballads is staking his claim in the wider terrain of African music
Edwin Madu loved the sharp quality of fiction in his early years. He had grown up reading a wide range of books that could have been available to any middle class kid in Nigeria. Starting to construct narratives of his own, that interest only expanded as he wrote his first song in 2007. “The song was very corny and it was written by a twelve year old, so I mean, that’s to be expected,” he said when The NATIVE caught up with him some weeks ago.
Though he began as a youngster with little to no leanings on technique, his skills improved with time. To capture the approaching shape of his work, Edwin sought a fitting sobriquet just before the release of his first record: inspiration came from a song by British folk rock band Mumford and Sons’, a line on “Reminder” which goes, “So I watch the world tear us apart, a stoic mind and a bleeding heart…” Taking off the first letter of his name, he became Dwin, The Stoic, foreshadowing the epic scales his music would evoke in stripped sonics and honest, heartbreaking lyricism.
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Making an instant impact, ‘Heavy Heart’ was the artist’s first album. It was released in 2018 but Dwin had created its second single “Stay With Me” about two years prior. 3rty, a musician and close friend of Dwin, helped him secure a recording session Both artists had created “The Lonely” while in university, and 3rty continued to support his reclusive friend with studio resources or technical assistance whenever the need arose.
The truth is, Dwin wasn’t quite sure of his music back then. He had a thousand other things going for him. “I was writing short stories, I was getting published and that was my life,” he says. “I was creating content, documentaries, all that stuff. The end of 2016 was when I now—NYSC was done, and the parents were like ‘Hey, you probably need to get a job’. And so I did, I got an office job, working as a tech consultant and this job takes me—I travel a bit. So there’s Ghana, Guinea, but a lot of the writing for ‘Heavy Heart’ happened in Ghana, during one of these work trips”.
Listening to ‘Heavy Heart’ feels like a memory, a peek into the experiences of one who knows the pointed edge of life’s dagger. Dwin’s subject matter ranged from existential queries (“Are You The One?”) to unpacking weighty romantic issues (“Happy Song” “Take Flight”), and his writing, clear as a prism glass and sharp as splintered bottles, did great justice to their sensitivity. “End Of An Era” is an ode to his departed sister while some others took account of old loves. Most of the other songs were fictional. He attributes their intimate sense of realism to his background as a creative writer – a quite obvious influence. “I have seen the worst of life, I have walked so many miles,” he writes in the hook of a personal favourite “The Lonely”, and then brings down the realisation that’s led to the earlier couplet: “Even when you hold my hand, I still feel left alone”.
Possessed with husky vocals that plays near the extremes of tonal range, Dwin, The Stoic is first and foremost a fine singer. His influences include Jim Reeves (“the way he sings and how emotive he was”), The Beatles (“just because they were fucking great and my father played them a lot”), and Paul Simon & Garfunkel and Louis Armstrong (“words were important to them”)—all maestros of the ballad form. Being a DJ, his father’s collection also included the guitar-soaked records of Highlife veterans Oriental Brothers and Oliver De Coque.
This amorphous background influences Dwin’s experimental foray in recent times. “I have a salsa song I’m working on and a lot of that [comes from listening to Spanish-speaking] acts like Natalie Lafourcade,” he tells me. “I’ve looked at music and just kind of seen it as a beautiful thing that can be attempted in very many ways and even now the conversation of genre for me, it’s gotten very hard. Cos the EP is not out yet but when people say shit like ‘genre bending’, this is one of them”.
Last month at the Lagos-held ArtX festival, Dwin faced the difficult situation of revealing his genre of music to a prospective new listener. “What do I say to you?” he muses now, pondering the wealth of fusion in his work. “Pop? Alternative? Nothing seems to be all-encompassing enough”.
With only two singles released in 2021, Dwin had a more productive output this year, his records produced by Rhaffy who’s come to be a frequent collaborator. The 3-pack project ‘Gkw/Winning Bread’ was released in June while “Rise” came out last month. Along with the recently-released “Without Your Love” they all demonstrate Dwin’s continued mastery of intense ballads, but with his forthcoming projects—first a collaborative EP with Rhaffy titled ‘Love Lane’, then his sophomore album—he’s evolving towards sonic unpredictability. “The song ‘Allez’ is a song where we use a primarily Indian drum pattern, but a lot of the chorus is written in French,” he says. “There’s also an amapiano song on this same EP called ‘Don’t Wait Up’”.
The more we talk, the more obvious is Dwin’s sense of renewed purpose in music. He hasn’t always given his time to this love, with other interests—media and tech primarily—moving higher on the interests list. Being an independent musician requires an hands-on approach to one’s finances and Dwin has been anything if not active. His many talents take him across several communities in the Lagos and African art scene, and I wanted to know how. Where did he learn to apply his writing skills to the demands of communication across corporate media?
“I’d say I was quite lucky with that,” he tells me. “If I had left university in 2015 and just not gotten some of the opportunities I did, or certain things didn’t happen afterwards, I wouldn’t know that the world of creating was where you could make money. It was a world I always admired but never quite looked into as a place to exist and make money. What set off a chain of events was Chimamanda’s workshop in 2015. I had wanted to apply and it was on the last day of submission I actually remembered it. I had been working on a short story and I took the first 800 words—cos that’s what they asked for—and just pasted it”.
This was in the middle of his final year and Edwin had forgotten his submission for the prestigious Purple Hibiscus creative workshop. On the announcement day after much anxious waiting he got mail past midnight saying he had got in, one among the twenty writers from hundreds around the continent. Being part of that multi-storytelling community for the next ten days broadened Dwin’s gaze. “With that came exposure to the literary community,” he says, partaking at the Ake Festival soon after and working at the African Artists Foundation (AAF). “My entry into the arts was something easily that could not have happened. After graduating with a Computer Science degree, I could have just gone to get a job in tech or something like that but that made it so I was like, ‘okay, tech would have to wait for a bit’. This is exciting”.
Morphing from the tender intensity of ‘Heavy Heart,’ the many voices of Dwin have found purpose in the world’s vast nature. He’s also a member of The Ignis Brothers, alongside vocalist Ruth Zakari and multi-instrumentalist Lamide Aranmolate. In 2020, the indie-folk band released their debut album, ‘The Cost of Our Lives,’ which furthered the existentialist leanings of Dwin’s own work, although this time with the varied sensibilities of his bandmates.
Writing songs for other artists has also featured in Dwin’s industry exploits—earlier in conversation, he told me his debut album was supposed to be a songwriter’s CV, only it became that and more. He’s earned the praise of stellar writers like Simi and co-wrote a standout record from Adekunle Gold’s ‘Afro Pop Vol. 1’ (“Exclusive”).
“It’s been interesting,” he says when I ask about his journey as a songwriter in the Afropop scene. “I want to do more of that; this is now my avenue to just put it out there. I really want to write for artists or at least, just give some of these songs I have. I think they’re great songs and if you give it to a talented artist, they’re going to be beautiful. Working with Adekunle was great; we worked on a couple other songs that hopefully would come out at some point. The way the industry works, who knows? I’d also written for Jessica Bongos, written for an artist called Emilomo, which was a Christian song funny enough, but that’s another conversation for another day. I’ve written for Ibejii as well, a lot of his earlier projects, so I would say I want to do more of these collaborations”.
There is a lot happening for Dwin and moving his music to the center stage rewards an important motivation for him. “I want to enter a new space,” he affirms. “I think I bring something very new to the Nigerian soundscape but I also know I’ve always just played sort of in the fringes, and not so much in the pop scene. And I think that I make sounds that would work for the general populace; I don’t think a song like “Streets” is not—[the song] does very well on radio, from here to Ghana, with my streams and the data I have, cities like Amsterdam. I know the sound—whether there’s ballads or the faster stuff—will work. Now I’m taking more important business decisions to make sure all that is achieved”.
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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