NATIVE Exclusive: Skales has a newfound appreciation for life
“Happiness is peace of mind to me, doing what you love and being profitable from it. Of course, I'm happy!”
Much like any other industry subject to the forces of capitalism, contentment is quite the elusive concept in the music industry. As artists advance in their careers and with each new release, there’s an expectation of commercial success and constantly levelling up, which is almost always about whether the artist can surpass their current level of acclaim. From breaking out to proving consistency to rising to the top of the popularity pyramid, there’s an emphasis on forward motion that makes it difficult for many artists to truly relish the accomplishment of putting out a project.
Very often, when I speak to artists who have just put new music out, it’s easy to hear the high hopes in their words and glean the anxiousness for success in their voice. When I spoke to Skales less than a week after dropping his recent EP, ‘Healing Process’, it was surprisingly refreshing to hear him speak with gratitude and a deep level of contentment. “It’s been really good” Skales offers when I ask him what the reception had been like in the early days since the release. “In fact, more than anything, I’m happy that the project is out ‘cause it means a lot that I’m here and I’m still doing what I love.”
This appreciative demeanour is the polar opposite of what he offered us two years ago: “Someone like Olamide would say ‘Skales should have killed himself by now.’” At the time, Skales was in a peculiar place in his career, where he was no longer the easy target of caustic jokes about unsuccessful artists. He was four years removed from “Shake Body”, the hit single that would rocket him back into prominence following his exit from Banky W’s EME imprint, two albums and several big singles deep into his resurgence, but there was still a disconnect between his successes and what was initially expected of him. And a lot of that stemmed from his switch-up from rapper to pop artist.
Back then, Skales pointed to his achievements as justification for revamping his primary style of music, noting that it had opened doors, given him so many opportunities and made him into the bankable artist. Today, he’s less keen on these types of explanations that convey some sort of frustration, opting to count his blessings, stay in the moment and putting his current situation in perspective with his journey so far.
About a week before ‘Healing Process’ came out, Skales dropped a trailer in anticipation of the EP, crystallising his mindset and the circumstances that inspired the EP into an affecting short video. In between bright shots of Skales strolling and taking in the sun on a beach, we see clips of the singer receiving medical care, and going by the drip by his bedside, it’s safe to presume it was pretty serious. Being able to come out on the other side with a clean bill of health, and the fact that life always has challenges waiting on every corner is what inspired the project’s title and loosely informs the songs on the EP.
NATIVE: You always seem to go for profound titles for your projects, why is that?
“I pick my album titles based on whatever I’m going through at the moment, or whatever I write down that feels right. Like ‘Man of the Year’, I had those issues after I left EME, many people wrote me off and didn’t think I was gonna come back, but then, boom!
For ‘The Never Say Never Guy’, the road wasn’t smooth, there were a lot of stories and doubters, and that was a challenge to myself to prove them wrong. With ‘Mr Love’, that’s a nickname my friends call me because they know me as a lover-boy, and the album basically was about love.
For this project, a couple of things happened and I started appreciating life a little more. I was sick for months and many people didn’t know, but I kept thinking about the fact that I could afford to pay for my healthcare and there are people that cannot afford these things. Also, I went through being hurt by people, disappointments and failures, and I know that I’m not the only one that deals with that.”
Going by the title and the trailer, you’d probably expect ‘Healing Process’ to be an overly introspective project, but that’s not what Skales delivers. The EP lands within Skales’ established flair for rhythmic music better suited for dancefloors. Like his previous projects, the title baits you in with something profound, but switches into a set of songs that are partly enjoyable and partly banal. Unlike his previous projects, though, Skales sounds rejuvenated and in better control of his powers as a songwriter.
With seven tracks clocking in at a brisk 21-minute run time, ‘Healing Process’ is far leaner than Skales’ previous three albums, all of which suffered in quality due to the amount of bloat and filler tracks. By being concise, ‘Healing Process’ cuts out any excesses in a way that emboldens Skales’ best qualities as an artist that conjures bright melodies and favours hook-driven writing. On the opening track, “God is Good”, Skales predictably gets prayerful, fortifying the sheer relatability of the theme with a personal approach to his writing and an impressive display of his singing chops. On the standout selection, “On Your Side”, he imbues the bouncy, fast-paced song with a dotting charm that’s pulled from the R&B playbook, creating a blue-eyed love song that can slot into wedding playlists and club sets.
An integral part to the enjoyability of ‘Healing Process’ is the impressive production, boasting a set of colourful beats that skate around afropop, dancehall and even veers into trap on the Ice Prince-assisted final cut, “A‘Lagos”. This project is far from a reset for an artist who defines himself as an artist who primarily makes Dance music, but it also feels like a new chapter, by being a reupholstering of Skales’ sound, and gone are the tendencies towards selecting insipid and overproduced beats. For that, Skales gives major credit to Kezie, the teenage producer who serves as the main co-conspirator on the EP and is now signed to Skales’ imprint, OHK Entertainment. With this creative partnership, ‘Healing Process’ amounts to a replay-worthy project that also stands as Skales’ best body of work till date.
As much as it can be described as a collection of happy-go-lucky songs, Skales explains that the relation between the content of the EP and its title is implicit since the intention is to use his music to create pockets of unreserved happiness for listeners. “Basically, all I’m saying is, every second, every minute, every hour, every day is a healing process, because there’s a lot of things we can’t change or control, and we have to go through them and move on” he explains. “I’ve come out of my own difficult experiences with a better appreciation for life and that’s what I want my music to show.”
Very often, when artists have been through life-impacting situations we expect them to detail it in their music, so that we can identify with them as people who also go through difficult situations just like us. Skales tells me he’s well aware of these expectations, but he’s gotten to a point in his life where he’s focused on the emphasising the positives, and it’s easy to see why. He’s survived through multiple, career-derailing valleys; in interviews and on his Twitter he’s let the world in on the domestic abuse his mother suffered and the difficult circumstances she raised him in, and he’s had to battle a serious illness to be alive. With all of this being public knowledge, he believes he’s earned the leeway to deliver music that reflects where he is at the moment, even though it is attached to a baggage of difficulties.
NATIVE: Do you think you wear the underdog tag as a badge of honour?
Yeah, I think so. Being an underdog is my story and I’m not even trying to sound bitter, man. This is a kid that came from a city that’s over 14-hours by road, into a megacity that he doesn’t know anybody, and he’s come this far. I’ve worked hard and I’ve sacrificed so much to get to where I’m at.
NATIVE: What’s the biggest sacrifice you’ve made as an artist?
I’ve emptied my account many times to make sure things happen. It’s not a smart decision—I won’t advise anybody to do that [laughs]—but sometimes, you just have to take the risk and I’m grateful it’s paying off.
At the moment, Skales is satisfied with everything he’s achieved. While he has plans to remain consistent and keep growing upwards, he’s not letting the constant race for sustained prominence give him anxiety. Contentment doesn’t equal complacency – if anything, it indicates a strong level of security and Skales is so secure about himself that he’s not too bothered by not being the biggest superstar. He considers having a huge fan base across Africa—East Africa especially—and in the UAE as indicators that he’s doing well for himself, he’s scored big collaborations with Major Lazer, Nicki Minaj, Akon and more, and he only sees more positives for himself going forward.
For an artist who spends a lot of his time touring and performing, Skales isn’t happy about the ongoing pandemic that has restricted travels and cancelled the possibilities of large gatherings in the foreseeable future—“I won’t lie, it hurt my feelings so bad”. However, he views as one of those things he can’t control, so staying safe, connecting with those closest to him, continually creating (he’s working on a rap album) and embracing happiness is how he’s coping.
NATIVE: What would you define as happiness?
Happiness is peace of mind to me, doing what you love and being profitable from it.
NATIVE: Are you happy?
Of course, I’m happy!
Listen to ‘Healing Process’ here.
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
NATIVE EXCLUSIVE: IT’S ADEY’S TIME IN THE LIMELIGHT
Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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