Songs Of The Day: New Music from Darkoo, Terri, Davido & more
Get your weekend started
From timeline conversations to new music Fridays, it seems like everything we consume is characterised by high volume and fast pace, and it can become overwhelming at times. As much as one can try to keep up with new releases from rising stars or stay in tune with the latest incoming hits, or discover sounds from countries all around the continent it’s often difficult to cut through the noise to find the songs that speak directly to us. This is where The NATIVE comes in.
In harmony with the tastes of our community, our ‘Songs of the Day’ compiles the recent releases we know our audience both needs and wants to hear. We are keeping you updated on our Fresh Meat alumni, raging over effortless collaborations and diversifying your palette with our genre inclusive picks. This weekend’s round-up includes a potential summer hit from Darkoo, a collaborative song by South African House veteran Oskido and Nigerian singer Niiniola, an ode to money by Starboy singer Terri, a self-assuring song from Preye, and more.
Darkoo – “She Like” (feat. Blanco)
In the time since making her first major splash with “Gangsta”, Darkoo’s subsequent output has earmarked her as a consistent, capable hit-maker, while purposefully expanding the scope of her artistic abilities. Darkoo’s new drop, “She Like”, is a giddy song with high potentials to soundtrack the summer of reopened public spaces. Joined by Blanco, the pair are boastful of their chances with women, owing to their affluence and fame accrued from being rap stars. “We got the hundreds and the figures, no tax/bad b, I hit it to the max”, she raps at the top of her verse, before slipping into her infectious, gruffy voice over the lustrous keys and groovy drums. “She Like” is the second single from Darkoo’s debut EP, ‘2 in 1’, out mid-July.
Oskido – “Banky Banky” (feat. Niniola)
In his illustrious career, spanning 26 years, Oskido has been a fixture in South Africa’s constantly evolving Dance/Electronic music space. A big part of his continued relevance lies in his willingness to grow with the times while keeping in touch with the older sounds he helped pioneer as a DJ, vocalist, songwriter and OAP. On “Banky Banky”, one of the three tracks on his new EP ‘Back to the Future’, he leans into the Amapiano wave that’s the current toast of SA, and he sources guest vocals from Nigerian singer and self-proclaimed queen of Afro-House, Niniola. On the track, Niniola sings with self-convinced prowess and Oskido joins in with a few chanted raps of his own, adding a wizened edge to the lush, mid-tempo pace of the instrumentation.
Sizz the Truth – “For the Bandz”
Early last year, Ghanaian rapper Sizz the Truth dropped his sophomore EP, ‘GreySkies Are Smokescreens’, a 5-song set with loose storytelling and personal resolutions. Well over a year later, he’s still pushing traffic to the EP, especially with the release of the new music video for standout track, “For the Bandz”. Backed by twinkling piano riffs and cavernous 808 bass, Sizz admires a lady who handles her business and can go to whatever lengths she deems necessary. The video splits focus between depicting the song’s theme through cinematic shots, and the visceral effect of its high octane beat as Sizz performs his set with high energy.
Terri – “Money” (feat. Bella Shmurda & Mohbad)
In celebration of his birthday, Starboy Records singer Terri dropped “Money”, a proclamation of constant desire to fill his pocket and live his best life. “More money, more money/anything wey better pass more money na more money”, he sings over Tuzi’s delightful guitars and live drums. He’s joined by Bella Shmurda and Mohbad, both singers following his lead by detailing their materialistic and hedonistic intents when money isn’t a worry.
Preyé – “Peace of Mind”
Around this time last year, majority of the world was knee-deep into lockdown measures in order to combat the first wave of the coronavirus pandemic. Written in the throes of lockdown, Preyé’s “Peace of Mind” is reminiscent of the fight to stay sane in a time of “overwhelming sad news, limited movement and barely being around loved ones.” At that it’s more emblematic of the positive mind-set that that helped the singer get through that period. “I must to find me/I must to love me/I must to see me, with all of my heart/I must to be me”, she sings on the balmy chorus over light piano chords and jazzy drums, interjecting each line with “someway, somehow”. In its accompanying video, Preyé sings and prances with a bubbly fervour, projecting an unassailable optimism that makes her lived-in lyricism even more riveting.
Skales & Davido – “This Your Body”
When we last spoke to Skales, the singer made his newfound appreciation for life explicit. A year later, he’s seems to still be counting his blessings and making new songs destined for dancefloor audiences. “This Your Body” is his latest release, an Amapiano-infused song with assistance from apex pop-star Davido. From its title, the song is predictably centred on both singers being enamoured by the physique of their love interest, as they sing of the raunchy intentions and the lengths they would go to in order to woo these women. Nothing about this song is remotely novel, but it reinforces the flair for dance music Skales and Davido have become popular for, to varying degrees of success.
Azekel – “DUPĖ”
There’s a quiet but deeply electrifying feeling when you meet someone and the level/dimension of attraction is mutual. In that moment, you might find yourself thanking the Higher Power you believe in. That’s the basis of Azekel’s “DUPĖ”, a song where the ecstasy of reciprocal attraction inspires appreciation for the divine. “How did you read my mind/can tell that you’re in tune”, he sings over the soulful folk instrumentation. Although he goes on to butcher the enunciation of the sole Yoruba line—“Mo fe dupe baba” (I want to thank you, Father”)—his expression is clear and relatable.
@dennisadepeter is a staff writer at the NATIVE.
FRESH MEAT: BEST NEW ARTISTS (MAY, 2021)
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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