Music has served as the life force connecting people and communities around the world in these unprecedented times. Though the pandemic has denied us live shows and concerts, where the magical bond between artists and fans unfolds in real-time; artists have remained committed to sharing music with fans, so we continue to honour their art and create space and visibility for them. Last year, The NATIVE created our ‘Songs Of The Day’ column as an avenue to curate some of the best and biggest songs from around the continent. In the time since its creation, the column has served as a means to discover music from niche, rising acts, while also spotlighting releases from the biggest artists on the continent. As artists continue to share their music with us this year, it’s only right that we continue pointing you towards as much great music as we possibly can.
Last Friday, we brought you new releases Rema and Seki Supervillain, a collaboration between Skillz 8Figure and Psycho YP, a momentous remix of Zinoleesky’s Amapiano anthem, and much more. Today, we’ve combed through all the releases you may have missed over the weekend, bringing you a curation that includes new single releases from GoodGirl LA and DJ Zandimaz, as well as new video drops from Focalstic and Davido, Adekunle Gold and Patoranking, and much more. Dig and enjoy.
GoodGirl LA – “Bando”
After closing out the year with “D4DM”, a PSA against physical and emotional abuse in relationships, GoodGirl LA has opened her headlining account for the year with the swaggering “Bando”, a few weeks after stealing the show on Vector’s “Early Momo”. “Trappin’ out the bando, many bad boys dey my back o/fine girls dey, dem a konto/girls don blow, no promo”, LA rhymes in the first moments, laying down a self-assured precedent that carries throughout the song’s duration. Backed by a clanging percussion pattern, she wields her guttural voice with a playful authority, resolving out loud that money is her priority. The music video also helps in underpinning her conviction, as it shows LA performing at her bando, along with a posse that includes a band, and mean-mugging men and women.
Focalistic & Davido – “Ke Star (Remix)” [feat. Vigro Deep]
Last year, Focalistic shot into unreserved ubiquity in South Africa on the back of multiple hits, the biggest being “Ke Star”, the thumping club anthem produced by Vigro Deep. The song has also improved profile across the continent, and he recently dropped a phenomenal Davido-assisted remix, which will certainly allow the song’s pan-African presence to rise. A week after its release, the rapper has shared the video for “Ke Star (Remix)”, and in contrast with the all black motif in the visuals of the original song, the new Dammy Twitch-directed video is packed to the margins with bright colours. While Focalistic and Davido perform, the video features a myriad of dancers mixing legwork moves from South Africa, like the vosho, with the vigorous variations of the zanku that has come to rule Afropop in recent years.
Adekunle Gold & Patoranking – “Pretty Girl”
Adekunle Gold’s third studio album, ‘Afro Pop, Vol. 1’, earned the singer a fresh round of plaudits, mainly for its glossy pop sheen and the evolution that led up to it. AG has remained consistent with post-release promotion efforts for the album, and he recently dropped the video for one of its standout tracks, “Pretty Girl” with Patoranking. Emboldening the song’s groovy, dancefloor-ready inclinations, the eye-popping set of visuals features its fair share of dance moves, while both singer perform their sets while styled in retro-inspired, brightly coloured outfits.
Kizz Daniel – “Flex”
He may not be overtly brash about it, but Kizz Daniel is one of the best around at extolling the pleasures of living the rockstar lifestyle. “Flex”, his new single following late January’s Amapiano-indented “Currently”, is the latest example of how effortlessly adept the singer is at evoking a good time while using his life as the main reference point. “See I just wan flex, make nobody hala for my head”, he proclaims on the chorus, casting a languid spell over groovy production inspired by Yourba highlife and Juju. Directed by the Alien, the accompanying video is situated in a retro-inspired cabaret, highlighting the positive perks of stardom as Kizz Daniel thrills the audience in the room alongside a live band.
Jay Bahd – “Go Get”
Of all the rappers prominent on the Asakaa wave, Jay Bahd is the one who leans into the obvious Pop Smoke influence the most. While his admiration and channelling of the revered Brooklyn Drill can cross into the terrain of cosplay at times, his booming voice and barrelling flow is potent and riveting enough to hold its own ground. On his new single, “Go Get”, the rapper boasts of his grind mentality and the spoils he’s accrued as his fame has risen in the last year. Seemingly inspired by receiving Off White merch from Virgil Abloh, the video sees him giving props to the Ghanaian-American designer, rocking his new fits in the hood while performing amongst friends and young people in his community.
Bisa Kdei & Gyakie – “Sika”
Bisa Kdei and Gyakie linked up for the first time on the latter’s 2020 single, “Sor Mi Mu”, forming an impressive partnership on the song. They’ve gone on to reprise their combo on Bisa Kdei’s new song, “Sika”, another romance-driven song where they act as love interests reassuring each other of their undying affections. Over a bright neo-Highlife beat, the pair complement each other very well once again, singing with a synched up sense of harmony. In the accompanying video, set at a rural location, they visualise their roles as love interests looking forward to seeing each other after a prolonged period apart, adding to the song’s endearing quality.
Etana & Stonebwoy – “Proppa”
Stonebwoy’s star power is undeniable. At the moment, there aren’t too many Ghanaian artists playing on his level of popularity, and his latest collaboration with Grammy-nominated Jamaican singer Etana is the latest proof. On “Proppa”, the two artists make a delightful pair, singing like star-crossed lovers over an Afro-Caribbean beat that finds the middle ground between their unique sensibilities. “If you want to be my lover, then come at me proper”, Etana sings on the hook, setting the tone for a playful and catchy tune about both parties fully committing to a romantic situation.
J Molley – “Want the Rack$” (feat. Nadia Nakai)
Last October, NATIVE Trybe alum J Molley released ‘All is Fair in Love & War’, a statement-making project showcasing his credentials as one of the more exciting Trap-inclined artists on the continent. Keeping the tape’s momentum going, he’s shared the video for “Want the Rack$”, a standout which features South African rap colleague Nadia Nakia. On the paper chase-themed song, J Molley’s melodic cadence makes for a nice juxtaposition with Nadia’s sturdy, unrelenting bars. In the video, set in a gaudy mansion, J Molley moves around with conviction while performing his set, while Nadia is captured in a sultry setting, as she reels off her raps while clad in a lingerie set, surrounded by an overflow of dollar bills.
DJ Zandimaz – “For Me” (feat. Michelle, Ceejay & Chuchu)
In an utterly male-dominated House music scene, it can be rare for women DJ/producers to corner mainstream attention. South Africa-based Zimbabwean DJ Zandimaz scored her first smash hit with late last year’s “Emathandweni”, a delightful Amapiano song with vocal appearance by Nokwazi. Hitting the ground run this year, she’s just dropped “For Me”, a soulful and catchy cut much in the same vein as her preceding song. Co-produced with Ceejay and Chuchu, the song spots bludgeoning log drum percussion, sunny piano and a buzzing synth bassline as its musical foundation, setting the stage for Michelle to sing romantic words of affirmation. Dedicated to the natural beauty of her home country, the video captures Zandimaz and Michelle basking in the seaside and lush greenery of Vic Falls. There’s also a party scene, where Zandimaz holds the sway over the crowd with her music.
Banky W – “Final Say”
Banky W and hugely popular actress Adesua Etomi-Wellington are getting set to welcome their first child to the world. The news filtered through late last, with pictures of the pair—Adesua with her baby bump—flooding the timeline. Turns out, those pictures are off the music video for Banky’s latest single, “Final Say”, a religious cut celebrating the pair’s marquee blessing and preaching a message of hope to believers. Over the Tropical House beat by legendary Cobhams Asuquo, Banky urges listeners to keep faith in God because he answers in due time. The sun-soaked video captures Banky and Adesua singing the song’s lyrics with an exuberant edge, culminating in a visual representation of their enthusiasm and joy. The song is expected to feature on ‘The Bank Statement’, Banky’s long-announced album currently rumoured for release later this year.
Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter
Raised in a culture that – for better and worse – prioritises a dignified response to pain, the language...
Wizkid doesn’t really let anybody in. Throughout his decade-and- a-half stint at the top of Afropop, he has...
Wizkid doesn’t really let anybody in. Throughout his decade-and- a-half stint at the top of Afropop, he has mostly maintained that position by the sheer force of his personality and an intuitive knack for rhythmicity that borders on superhuman. Even when he was reflecting on the socioeconomic pressure that served as fuel for his breakthrough on tracks like “Oluwa Lo Ni” and “Wad Up” off his debut album, ‘Superstar,’ he was not so much excavating the trauma of his past as he was pointedly detailing the profound difference in his new reality, afforded him by his musical success. Across his stacked catalogue, we have seen Wizkid sing about his fascination with pretty women, cash, cars, and the flyest outfits without really understanding what lies just beyond that material surface with the rare exception of when the singer mentions his mother.
‘Ayo,’ his second album, has two specific mentions of the singer’s admiration for his mother. “Mummy Mi,” produced by Spellz, is a mid-tempo dedication to his mum’s sacrifices and the redemptive nature of her love while “Joy,” placed near the end of the album offers some more context on the relationship between Wizkid and his mother. It’s a soulful dedication to the bond they shared and a reminder of how Wizkid’s arrival into his mother’s life in 1990 brought so much joy to his family. “In the early ‘90s, that was the beginning, mama had me, she was definitely happy,” he sweetly sings atop the rasping Dokta Frabz-produced instrumental. Literally translating to his given name, Ayo, “Joy” was a wholesome glimpse into the inner workings of Wizkid’s life that has not been replicated since then as the singer took his campaign global with albums like ‘Sounds From The Other Side’ and the widely-lauded ‘Made In Lagos,’ a more refined version of the R&B flow used in the opening section of “Joy.”
In August 2023, news broke of Wizkid’s mum’s passing, prompting a groundswell of public support for the singer who has leaned very publicly on his mum for support throughout his career. As can be expected, Wizkid retreated from the public eye to process the loss and grief with his loved ones in private. Since then, the monumental scale of his mother’s death has become apparent for anyone following the singer. As part of the schedule of ceremonies to celebrate her life, Wizkid spent some time in Lagos where he revisited his old haunts and made a N100 million donation in his mum’s memory to kids in Surulere. “IDK,” a standout off ‘S2,’ his December extended play was made following his mum’s death according to the singer and it wrestles with the weight of his loss in its margins.
Raised in a culture that – for better and worse – prioritises a dignified response to pain, the language of grief that Wizkid employs is layered and textured. But, for anyone that’s listening, the signs are abundant. “Tough times don’t last but tough people do, we go stand tall,” he morosely sang on “IDK,” hinting at the pain he was battling before yielding the floor to Zlatan. On her first posthumous birthday, Wizkid wrote a note to his mother on social media: “Happy birthday, love of my life! I miss you every day,” he said. “The first one without you here feels unreal. Nothing makes sense without you, mama! Life is empty without you. Continue to watch over us! My heart is broken forever! Love you, love you, MORAYO mi. Your smile is a memory I will never forget. Your laugh! Your hugs and kisses. I miss you dearly!”
Not long after, he revealed that his next album would be titled ‘Morayo’ in her honour, calling it the best album he ever made. While the jury will remain out on where ‘Morayo’ will rank in his discography for a while, it’s the fullest fusion of all the styles that he has experimented with across his career, building a link between the percussion-led Pop bombast of his earlier years, the Dancehall-inflected crooning of the ‘SFTOS’ era and the orchestral R&B style that he has worked with for much of the last five years.
Even when it’s not referenced directly, the sorrow that Wizkid feels at the passing of his mum is a near constant, with her presence never too far away from his mind. On Morayo‘s opening track, “Troubled Mind,” there’s an immediate signpost that this album was designed to be a final farewell to a central figure in his career. The song opens with a section of Fuji legend, KWAM 1’s, set at Wizkid’s mother’s burial, welcoming listeners to his sixth album with words of comfort, while Wizkid’s own lyrics sound disconsolate as he finds escape in hedonism. “Say the blood for my eyes and the pain for my mind, mo le salaye,” he sings after KWAM 1’s stretch ends.
For 33 out of his 34 years on earth, Wizkid had his mother in his corner to work through some of the most knotty moments of his life; and for the first time, he’s having to navigate loss without a central part of his support system. The sense of unease bleeds into his music and there’s a real sense of desolation in how he constantly sings, “I got a troubled mind,” even if it still ends with an acceptance of his loss and a request for a shot in memory of his mother. Even for the biggest of stars, grief is an unending spiral that can creep up on the most unexpected moments.
In Yoruba cosmogony, the death of elders is seen as an opportunity to celebrate their lives and the impact they have made on their loved ones and community. In that regard, the burial ceremony for Wizkid’s mother was a celebration for the ages with a selection of stars, well-wishers, and institutional figures joining the Balogun family last year to bid her farewell. Something about his mum’s passing and Wizkid’s time in Lagos last year has made him return to the lively percussion of his youth in a way that he’s not really explored since ‘Ayo,’ the album housing “Mummy Mi” and “Joy.” Songs like “Karamo,” “Kese,” and “Bend” are straight out of the playbook of the sweltering bangers that Wizkid used to churn out steadily as a youngster with a point to prove as his mum urged him on to superstardom – even if they don’t possess the same pomposity of the original. With his mum gone now, these songs on ‘Morayo’ function as a key to remembering simpler times when his current heights were dreams that he was reaching out for.
Perhaps the most emotionally resonant moment on ‘Morayo’ arrives on “Pray,” the record’s closing song where Wizkid finally directly confronts the elephant in the room. Opening with a story of his struggles as an up-and-coming act, he recounts his mother’s words to him in those tough times: “Mama call me, ‘Ayo Balogun, they can never find another you.” It’s a moment that plainly shows the depth of love that Wizkid and his mum shared, and how her affirmations shaped his career as he went on to become one of the most defining artists of his generation. Later on “Pray,” Wizkid will add, “I know my mama pray for me / And I know the heavens dey for me.” Even in death, the singer is assured of the bond they shared, and we are all public witnesses to that love even if he won’t let us into his life totally.
Featuring Rvdical The Kid, Onoola Sama, Godwin and Kyla
As the year draws to a close and we look back at some of its best music, there’s no denying how much of...
As the year draws to a close and we look back at some of its best music, there’s no denying how much of 2024’s soundscape was powered by fresh, audacious voices from across the continent who were willing to take chances, step outside of the creative boundaries of their predecessors and carve out their own unique lane in Africa’s music scene.
Take Godwin, the Kaduna, Nigeria-born singer whose deep, introspective records have not only resonated with listeners of his own music, but with moviegoers as well; or Onoola-sama, who continues to build a cult following with her eclectic but recognizable sound throughout her steady climb to stardom.
Rvdical The Kid, whose free-flowing melodies speak to his global influences is just another example of the direction that African music is taking these days – distinct in its own sound, but still having multiple entry-points for any listener. And Kyla Blac, for her part, brings her soulful creations to life with the confidence that many seasoned artists still seek to find in their music. With voices like these leading the way, there’s a lot to be excited about over the next year in African music.
Onoola-sama
For fans of: Moyoswrld, Len, DEELA
It’s hard to put your finger on the kind of music onoola-sama makes. In her Spotify bio, she describes her music as “super cool fun hot sexy music” – and while that’s fairly accurate, it does not adequately capture the breadth of her hugely imaginative sound. The Toronto-based artist is a genre-agnostic shapeshifter who tinkers with some of the decade’s most prevalent and obscure subgenres like Vapor Trap, Alt-R&B, Shoegaze and even blown-out Bedroom rap to create a kinetic fusion with a foot in almost every corner of today’s internet. While her earlier releases like “tangie’reen,” “magenta” and her 4-track debut ‘ode2me’ were all characterized by ethereal, dreamlike production and delivery, 2022’s boisterous “B1TCH3S!” quickly dispelled any notions that onoola-sama could be tied down to a specific genre or sound.
If her initial releases showcased her wispy vocals and melodies, “B1TCH3S!,” which came in late 2022, proved she is just as compelling spitting cutthroat bars over animated beats as she is singing emotionally-charged tunes. Her varying styles all came together on ‘i want what i want,’ her second official project which came in 2023. While the project is also buoyed by eerie production, onoola-sama swaps out some of the melancholic autotuned singing that defined ‘ode2me’ for raging growls about convoluted relationships, drugs and designer clothing, highlighting her versatility and willingness to experiment.
In 2024, onoola-sama’s desire to constantly play with sounds has not diminished in the slightest. After releasing a few successive singles – “myheartbreakparty,”“BRASH,” and “onoola-chan” – through the year that further explored her “super cool fun hot sexy” sound, she released the Soca-inspired ‘fujiBouyon*’ in September. The 3-track pack that takes huge influence from Dominica’s Bouyon music melds frenzied dancefloor energy with some innovative rapping and singing. “fêteRock*,” the standout track on the single pack is an incredibly infectious banger that features a brilliant and fun verse from rising rap star DEELA and begs for the meanest waist whine. “tequila, gin & rum,” onoola’s latest release sees her take another sonic excursion, this time experimenting with other alternative Hip-hop sounds and proving time and time again that she’s not one to be boxed in. -B.A
Rvdical The Kid
For fans of: Odunsi (The Engine) and Tay Iwar.
Look past the sonic abstractions of Rvdical The Kid’s music and there’s a warmth just beneath the surface that hints at a deeper vibrancy. Influenced by Hip-hop but not allowing himself to be limited by its stylistic components, the producer and singer’s music draw from a wide pool of sources that includes Jazz, Shoegaze, and Neo-R&B. Born in Nigeria, and raised in Benin and Baltimore, Rvdical’s music distills distinct aspects of those cultures into a style that’s refreshingly unique and enjoyable while prioritizing self-expression. “I’m definitely global,” he said in an interview with Floor Mag. “I feel like I allow all those parts of myself to express themselves naturally without putting too much thought into it. “I have so many influences so being more of a musician, I feel like I’m a sound curator.”
Rvdical’s preference for free-flowing creation is evident in the unhurried groove of his music and how it rarely follows a defined structure. The instrumentals are orchestral and self-gratifying and the vocals can be fizzing whispers or booming utterances, depending on what Rvdical feels like. He first made an introduction with his 2015 album, ‘Carte Blanche,’ a celebration of freedom and non-conformity that packed skeletal instrumentals, soulful ballads, and dancefloor summons in just seven tracks. Opener, “Miles Away,” pulsates with the essence of being disconnected from the world while the Maesu-featuring “Dopamine” is a lo-fi affirmation of feeling as good as can be.
Just as he emerged onto the scene with a certain mystique, Rvdical retreated for a while before emerging in 2020 with a new extended play titled ‘Little Planet.’ Just like ‘Carte Blanche,’ it’s a beat-led effort with more colour splashed across its runtime, a legacy of his return to Ghana after completing a degree at the University of Maryland. “One thing I do know is that since moving to Accra my sound has become more open, and I would definitely blame the sun for that,” he said in an interview with Asbo Magazine. “Because you can’t be hot and depressed in the sun, so melodically, harmonically the music just naturally becomes brighter.” Whether collaborating with ‘TAYDK’-era Amaarae on the ethereal “Nasa” or Nonso Amadi on “Often,” ‘Little Planet’ offers a unique spin on his electronic style that hints at mastery. – W.O
Kyla Blac
For fans of: Amaeya, Kold AF & Qing Madi
After only a couple of features, Kyla Blac made her debut with a 4-track EP, arriving seemingly more confident than most. Although ‘Only A Minute’ leaned in the low-fi direction, stacked with brief tracks and fleeting messages, Kyla’s soulful vocals are hard to miss. From “Unapologetic,” which offered a glowing Pop-leaning soundscape to “Find Ur Way,” geared more towards R&B while presenting her lush chords over a rhythmic balance between singing and rapping, Kyla Blac is clearly comfortable in her musical lane. After that, the Zimbabwean native took a step back only to return three years later with “PROBLEM”. The Murphy Cubic-production featured daunting piano keys and a reverberating bass where Kyla bitterly reminisces of a previous relationship.
Still, her moment feels like it has only just begun with more refined tracks like “Some Day” under her belt. The Neo-Soul contribution features her infectious vocals stretched across various notes, briefly creating an illusion of multiple voices. She talks about chasing success like there’s no tomorrow and remaining motivated by her responsibilities and support system; “Keep going till I break the chain, too many eyes have prayed for it,” she sings. Thereafter, she joined Sylent Nqo for a heartbreak anthem dubbed “Good One” and Afro-pop number “Energy ” assisted by Da_Kudu and Kbrizzy. For all those ruled by love and searching for those with similar perspectives, look no further than Kyla Blac for all the anguish and buoyant thrills of romance. -N.I
Godwin
For fans of: Asa, Jacob Banks, Dwin The Stoic
Born and raised in Kaduna, Godwin’s music is characterised by his familial experiences, producing what can best be described as kinfolk music. His debut EP, ‘Road to Nirvana,’ released earlier this year, is a tapestry of lived experiences, marked by loss, love, and resilience, with his riveting vocals weaving a fabric of warmth and relatability.
Long before turning to music, Godwin was a celebrated filmmaker and the founder of The Critics, a Kaduna-based film collective popular for its DIY sci-fi films that gained local and international attention from big names in film such as Morgan Freeman. This filmmaking background is evident in Godwin’s lustrous ability to paint evocative emotional landscapes through his lyrics and melodies. Listening to his music can sometimes feel like watching an indie film — raw, authentic, pulsating with emotion and rich with storytelling. This cinematic appeal is one of the most distinct cornerstones of Godwin’s artistry. His latest single, ‘Blood for Blood,’ was featured by Paramount Pictures as one of the soundtracks to the 2024 thriller, ‘Gladiator 2’. The core of Godwin’s artistry is the intimacy across his music, that can be likened to a heartfelt conversation with a close friend. Tracks like “Proud of You” and “Now” from ‘Road to Nirvana’ are rooted in universal themes of self-discovery and grief, earmarking his unique ability to turn deeply vulnerable moments — such as the loss of his mother — into sing-along rhythms.
The 23-year-old expertly blurs the lines between Folk and Alternative music, using minimalist instrumentation, often led by acoustic strings and piano, to set the stage for his spell-binding stories. Ultimately, Godwin’s art isn’t just about the music; it’s about a shared connection with the listener through relatable experiences. Fresh off opening act duties on the European leg of Tems’ ‘Born In The Wild’ tour, and a feature on the soundtrack of the blockbuster, ‘Gladiator 2,’ Godwin is undoubtedly one of the most promising emerging talents today. With a pristine blend of filmmaking and music, the Kaduna native’s art stands as an invitation to feel deeply, dream boldly, and embrace the beauty of shared humanity. – J.F.
For almost a decade, Apple Music’s Up Next Program has helped spotlight a new generation of emerging...
For almost a decade, Apple Music’s Up Next Program has helped spotlight a new generation of emerging talent, exposing them to a larger audience. The program’s alumni includes a class of dazzling acts including Rema, Burna Boy, Tems and more. Since their expansion to Nigeria in 2021, the global artist initiative has consistently presented a roster of the most promising emerging talents from this side. Following his double-feature release, Neo-Soul singer and songwriter, Rigo Kamp, serves as the latest addition to the program.
His 70s inspired funk debut dubbed ‘Summer/Morning Sun’ displayed Rigo’sirresistible magnetism and charisma over the locked groove of a Disco-inspired beat, alongside an infectious Soul and Jazz blend which scored production credits from Alté pioneers, Odunsi(The Engine) and GMK. Regarding the program’s feature, coupled with a glowing appearance on the accompanying playlist where he sits amongst the likes of FLO and Bree Runaway, Rigo shares:
“The little boy in me sees the man standing before him now as the Apple Music Up Next Artist for Nigeria and is proud… It’s a special day for me and everyone that has worked with me over the years.”