Why Nigeria can’t & shouldn’t be aiming to ‘own’ Amapiano
The Mzansi-originated style of dance music is more than sound, it's a movement, a culture and a lifestyle; it should be respected as such
Mayorkun. Rema. Niniola. These are three notable Nigerian artists who have, in recent times, released songs heavily indebted to Amapiano, the South African House subgenre which rose to unquestionable dominance in the South African music mainstream last year. The adoption of this sound by these three mainstream artists is an indicator that more Nigerian artists will take to Amapiano in the near future. While this is positive validation for the creative quality of Amapiano, and will undoubtedly further the subgenre’s popularity, Nigeria has a tendency of taking on music from across African borders without giving due respect to its originators.
Back in July, Rema put out the phenomenal “Woman”, the final drop of an impressive 3-single run, a song which could easily been touted as the biggest songs this year. Upon release, there was an outpour of praise for Rema’s undeniable ability as a hit-maker, but that soon gave way to conversations about the sound he adopted, and its readiness for mainstream success in Nigeria. At their best, there were takes on the myriad of ways we can incorporate Amapiano elements into the distinct quirks of Nigerian pop; at their worst, it was insinuated that more artists adopting the SA House subgenre could lead to the point where we can claim absolute ownership.
In as much as these were takes given in the spur of the moment and can even be defended as harmless banter, there was a sinister sense of entitlement, especially with the latter set of opinions. It’s normal practice in pop music for artists and producers to take elements from existing music styles and refine them for a previously oblivious audience, however, when adopters start parading themselves as originators and outright owners – e.g. white people and Rock music – this is the point at which duplicitous appropriation rears it’s head.
While it has always been a fixture, the pace of cultural and creative exchanges between African countries has been enhanced by the ever-evolving internet, meaning that we get to see interesting trends across the continent almost in real time, and interested parties can quickly begin to figure out how to use these newly discovered fads to spur their creativity. It used to take some time, pre-internet. For example. the Makossa craze that overtook Nigeria in the early ‘00s, which had been the mainstream sound in Cameroon for decades prior, gained popularity in the Congo from the mid ‘90s and eventually led to the viral presence of Congolese singer Awilo Longomba within the country’s shores.
With the continued rise of on-demand music streaming, the ability to peek into whatever’s happening several thousand miles away thanks to the internet and social media, and constant pan-African collaborations between artists from different countries, sounds from several sides of the continent don’t have to take the scenic route to popularity away from its point of origin. In the case of Amapiano, it was a matter of how soon – not if at all – the addictive sound would begin to impact the Nigerian pop music scene.
A week before Rema’s “Woman”, ‘I Am the King of Amapiano: Sweet & Dust’, the blockbuster solo debut LP by South African DJ and Amapiano savant, Kabza De Small was released, and it notably contained “Sponono”, a frontrunner for record of the year, featuring vocal appearances by Wizkid, Burna Boy, Cassper Nyovest and Madumane – the former three being amongst the very biggest artists on the continent. On cue, the song quickly became, and has remained, a fan favourite in the Southern parts of Africa, while also garnering a sizeable buzz in Nigeria. “Sponono” is extra proof that these sort of star-studded collaborations can yield creative magic, diverse acclaim and general influence. Evidence of the latter point comes with the inference that “Woman” was recorded three days after “Sponono” came out (I’m not really insinuating direct influence, just pointing out an interesting detail).
Beyond inferences, the creative bridge between Nigeria and South Africa goes back several decades, from Hugh Masekela and Fela Kuti in the 1970s to Burna Boy and AKA in the last decade. The exchange of inspiration between SA and Naija is a two way street, Amapiano is just the latest import traded to us by our southern partners. It isn’t anything less than expected that Amapiano would begin to make its mark in Nigeria, however, as with whatever becomes the toast of the mainstream, the problem lies in our general (mis)treatment of relatively new sounds as something to claim ownership of, or disrespectfully strip for parts.
Thanks South Africa for creating Amapiano. But it's a Nigerian genre now. Go and create another one.
Love and light.
— Joey Akan (@JoeyAkan) July 4, 2020
Following his ascension to widespread popularity on the back of his patented Banku sound – which is heavily indebted to neo-highlife – Mr Eazi played a significant role in adjusting the standard pace of Nigerian pop songs. Although there were strong precursors like Burna Boy’s “Like to Party” and Wizkid’s “Ojuelegba”, Mr Eazi’s distinct style, along with hit songs like Tekno’s “Pana”, helped normalise the flamboyant cool that’s become a signifier of Nigerian pop music.
Considering the roots of his sound and his part in this musical shift, it was a bit shocking to see the singer come under fire from Nigerians for his early 2017 comments about the influence of Ghanaian music on Nigerian music, even though it’s a well-established fact that goes back all the way to Highlife in the 1950s. Rather than take it as a moment of giving credit where it is due, it many Nigerians saw it as an opportunity to assert supremacy.
Due to our sheer influence in determining what’s hot in Afropop, Nigerians often think every musical style that makes its way to popularity over here should solely revolve around us, an arrogance that makes us willing to place our narratives over the actual origins of the sound. In doing this, we come across as bullies who no longer have anything innovative to contribute to the African music canon, and are only on the prowl for influences to take from (sounds palely familiar). Amidst conversations about the global appropriation of Afropop, we should consider it pretty damning that appropriating with reckless abandon is a dominant part of Nigerian music, when all that is required is for us to simply not pass ourselves off as ‘owners’ of a sound we didn’t create.
Following the meteoric rise of “Legbegbe”, Mr Real made it a point to reiterate Gqom – the House variant that combines SA folk with bombastic, Techno-indented bassline – as the sound behind his game-changing smash hit. “I looped the beat and added some other sounds. It’s from an Uhuru song that I don’t even remember anymore”, he admitted to the NATIVE in a 2018 interview, name-checking the prolific South African producer Uhuru and giving direct props to the direct sonic inspiration. “Legbegbe”, alongside other similarly styled bangers like “Oshozondi” and “Shepeteri”, led the Shaku Shaku wave that has now become foundational to Nigerian street-hop music today. Through constant innovation, the sound has mutated and evolved into several dimensions that’s traceable down to Rexxie’s ‘Afro Streets’ as well as Jaido P and Olamide’s recent street banger, “Tesina Pot”.
One could argue that, the adaptation and retooling of Gqom into a sound that’s now inherently Nigerian has to do with its Techno elements, a style of dance music with a proven universality. Pulling off the same process with Amapiano, however, will be a lot more complex due to its musical specificity. Born from a combination of Kwaito, deep house, Jazz and the folk drums of diBacardi, Amapiano is an offspring of sounds deeply embedded in the DNA of South African music. With this sonic make-up, the subgenre is so vividly singular that it’s instantly clear when it’s been adopted, and retooling effects drastic changes such that it can no longer be deemed as Amapiano. It doesn’t mean the sound is limited, it just goes to show how unique it is.
None of this implies Nigerian artists and audiences can’t co-opt and enjoy the warm, strident grooves of Amapiano; what is does mean is that there has to be respect in approaching the sound and purging the idea of ownership. In May, British-Ghanaian DJ/producer Juls put out ‘Happy Place’, a short EP with its fair share of Amapiano-indented songs. “Soweto Blues” and “Tembisa”, the songs with clear influences from Amapiano, are stunning attempts at fusing the sound with his established identity as a purveyor of colourful neo-highlife grooves. Built off his trip to South Africa early in the year and created in tandem with local artists Busiswa and Aymos, Juls foray into Amapiano was clearly built on pure admiration rather than appropriation.
On September 22nd, Spotify brought together several key players for “Amapiano Keys”, a virtual panel event that dug into the rise of the subgenre, its local impact, as well as its growing appeal on continental and global scales. Juls featured in the third section of the event, alongside Spotify exec Phiona Okumu and South Africa-based Zimbabwean singer Sha Sha (aka the Queen of Amapiano) – the trio, despite their varying level of involvements in the Mzansi-originated sound, made it their duty to constantly reference it as such.
Before them, journalist/photographer Setumo-Thebe Mohlimo and several Amapiano artists including MFR Souls, Njelic, Semi Tee and Focalistic featured in the preceding sections, and what struck me the most was the fact none of them referred to Amapiano as a sound, rather they invariably described it as a movement, a culture and a lifestyle. In different words, they described Amapiano as a reflection of the day-to-day life of many South Africans, especially that of the youths who form the bulk of the country’s populations.
Considering this weighty context, it would be disingenuous to continue pushing the agenda, even jovially, of Nigeria eventually owning Amapiano. Having already proved its national dominance, the movement is looking to upscale internationally, which is an agenda we can assist with. As Afropop continues to make global in-roads, Nigerian pop music has dominated a large portion of the attention from the other side of the Atlantic, meaning that we can further Amapiano’s international appeal through collaborations like “Sponono”, respectful and inventive co-opting like Juls’ ‘Happy Place’, and other wholesome avenues that doesn’t involve us erroneously parading ourselves as the owners of the Mzansi movement.
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Dennis is not an interesting person. Tweet Your Favourite Vigro Deep Songs at him @dennisadepeter
AMAPIANO: THE GLOBAL SOUND OF THE SOUTH AFRICAN HOOD
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.”
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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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