Exploring “Ojapiano” & The Evolution of Nigeria’s Most Spiritual Flute
The potentials of culture is again shaping online conversations
In the past two years, no genre has impacted Nigerian Pop as much as Amapiano. Extending the decades-long relationship between South Africa and the West African country, this time around, collaborations aren’t the sole catalyst, rather Nigerians are creating the music themselves. The unique flavours that have cemented themselves in our sonic tapestry was blended into that rich world of log drums, often to masterful effect.
Week after week, Amapiano’s strengthens its grasp on artists and consequently the music we hear. For a genre that’s soundtracked the motions of unbridled joy and poured out skin-filled dance floors and other communal spaces, it was a paradox of popular expectations when people began demanding more. We grooved to the better Amapiano songs, but with each whine, it seemed we craved something new.
Nigerian Pop is enjoying its most novel moment in a while. Pushing sonic boundaries is expected of certain artists, but there’s no limitation across the current contemporary soundscape. Even non-singing talents like hype men and producers contribute in no small way to the litany of music-driven public moments we share. Right now, the biggest and fastest-growing song in the country was created by an artist far removed from his prime, whose contributions to early 2010’s Nigerian pop is rather understated, and his consistent punches at the today’s scene has gone largely unnoticed.
“Ojapiano,” which was released by KCee, is that song. First gaining traction on TikTok, the sound has been used by over 30,000 users and has penetrated several facets of popular culture. From “Buga” to “Calm Down”, the biggest songs have shown a penchant for purposeful minimalism, paring down excess elements in favour of the song’s unique tune or progression. The KCee song has that flair for measurement, thanks to its producer Jaysynths. Rolling log drums are the dominant feature, blended into the easy-going vocals of Kcee, while that flute—yes, the Oja—bends from the corners of the much busier percussions, exuding grace and muscularity in its movement.
The track seems inescapable right now. It’s cool enough for a night with corporate executives at Victoria Island, gritty enough to elicit whines at the back corner of mainland hotels, clean enough for a toddler’s birthday party. DJs love it, Gen-Zers and millennials love it, casual listeners of music, too. Undoubtedly one of the biggest success stories of the year and primed to become one of the most transcendental songs as well, it continues a rich form of culturally-impactful records KCee has scored in recent years.
Two years ago, “Cultural Praise” attained similar levels of ubiquity. Timing its release to coincide with the ‘ember’ months—starting from September to the last day of December—the effusive praise contained in its charged rhythms appealed to a wide range of Nigerians. A national myth is the lurking danger of these months, their doses of pleasure always harbouring the risk of pain. Death, loss, tribulations; no one wants these, and so we give thanks.
Understanding the Nigerian psyche on this level has long benefited KCee. “Limpopo,” after all, had that bemusing but implicitly revealing chorus, carried on the gesture of hand movements which became its dance. The police-civilian dynamic was explored on “Pull Over,” featuring Wizkid whose youngster edge provided further gravitas for the record. On “Cultural Praise,” the expertise of the Ogene percussive tradition was sought after by KCee, leading him to collaborate with the Okwesili Eze Group. Even with the far-ranging motivations behind the recording, at its core what was being presented was a groovy song, a gyration medley that passed messages of positivity.
On “Ojapiano,” the intended demography is different. Rather than east-side travellers and elderly folks, this was meant for those who spend their Friday nights outside and don’t necessarily bother about Sunday morning. The choice of Amapiano as a sonic base was peculiarly striking because of its aforementioned standing in these parts. It’s the soundtrack of many urban societies across Nigeria, thus wielding that immediate appeal of the familiar.
Where the song strikes sonic gold is in its Oja playing. From clips available on social media, the mastermind behind the flute in question is a young Nigerian man. In one such video KCee and the Oja player OJazzy Igbonile—who’s clad in animal skin wear—are luxuriating in each other’s presence, obviously heated by the steam of music in the room. Stretching the cultural palette from the incursions on ‘Cultural Praise Vol.1’, the resultant project from the earlier mentioned record of the same name, KCee entrenches Igbo musicality—and some would say spirituality, but more on that later—into the tapestry of modern Nigerian pop music.
The Oja is an ancient instrument. Its origin is in Igbo land, which is officially referred to as southeastern Nigeria. Of all the regions, this is the most forested, surrounded by thick forests and dense, lush vegetation. With access to this natural resource, the Igbo people have always been fine woodworkers. Craftsmen have evolved from Awka to Enugu, creators of masquerades and repositories of the gods’ powers, ornately designed stools and musical instruments of the highest caliber.
Among instruments such as the Egwe, Igba, and Udu, all of which are percussive tools, the Oja stands tall. Pre-colonial societies utilised its distinct harmony in many social occassions, mostly as a means to call forth the unique spirit of its listener. For those who’ve attained great reputations, the Oja can be used to sing their praises. As someone who lives in the East, I have been opportuned to hear the instrument played live, often to soft strums of accompanying music from any of the aforementioned percussions.
Some of its most mesmerising renditions I’ve witnessed were by Gerald Eze, who is a musicologist and Ogbuoja. He wields the instrument with grace and dignity, never showing off or merely seeking appraisal. Rather, it’s a teachable experience whenever he plays, as he usually follows up with his fine oratory skills to tell the history and uniqueness of the flute. Listening to him one cool evening in Awka, I was gradually transported to a place of pristine wisdom, and the weight of experiences which seemed from centuries earlier flowed within me. I grasped for the familiar, but the more he played, the immediate world lost its meaning on me, and so I was contemplative for a long time after the last note.
Eze, who’s the subject of a wonderful essay on Afrocritik, is an embodiment of the ageless wisdom retained in sounds. He places the genealogy of the Oja in like importance with the saintly acclaim of classical music, perhaps even more considering how important flutes have been to Sub-Saharan African societies. According to his conversation with Chiedoziem Chukwudera, the Oja’s distinct quality is its very high sense of individuality. No two players can play the same time, and “no two people will ever play the Oja in the same way. Each sound emitted will be unique in itself”.
Considering how quickly “Ojapiano” has blown up, it’s possible to conclude that this experience is novel to mainstream audiences. Moving at the pace it does, the center of Nigerian music is pulled towards several sounds at once, and with worldly ambitions of conquering, the external becomes prime currency. We do not look inwards enough. As they should, the southeastern music scene has championed the utilisation of this sound, even way longer than most people know.
One of my favourite threads on Twitter right now explores the timeline of the Oja, sketching its evolution from traditional-leaning musicians like Queen Theresa Onuorah and Ejike Mbaka to modern purveyors such as CKay (“Anya Mmiri”) and Jeriq (“Cartel Business”). The diverse emotional scales between the last two records are proof of the Oja’s liquid form, able to serenade as much as it incites. Zoro and Flavour’s “Ogene” and Kolaboy’s “Kolapiano” (which was an early fusion of amapiano and the Oja) have also adapted the instrument poignantly, repping the colourful Igbo culture while furthering the pockets of their artistry.
The biggest indicator of the Oja’s appeal right now is the love it’s getting, not only from listeners but musicians as well. ODUMODUBLVCK who’s undoubtedly one of the hottest artists in the country has shared a video of him layering his richly emotive vocals over the production, extending the genius input he had on Zlatan’s “Oganigwe,” another song which utilised the Oja. A master of the quaint and local, the rapper emerges a perfect fit for a potential remix, while the Igbo leanings in his overall presentation just signifies the richness and freshness of that particular culture.
As The Cavemen have most successfully displayed in recent times, the culture’s history of performance still offers a lot to the disciplined musician, whether it’s through the utilisation of an ancient instrument, interpolating a classic song, or plucking church hymns and rinsing them in the rivers of contemporary sound.
Odumodublvck just previewed Oja remix? pic.twitter.com/di1wdhZBDB
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@𝗼𝗻𝗲𝗷𝗼𝗯𝗹𝗲𝘀𝘀𝗯𝗼𝘆 (@OneJoblessBoy) June 14, 2023
Yet this imminent entry into deeper aspects of culture raises fresh concerns. Compensation is the most pertinent, how much is owed to the custodians of these folk traditions, and to whom exactly payment is made to. KCee has faced an infringement charge from prominent Catholic composer Jude Nnam, and it’s revealing how much happens between taking societal songs and making them modern. People have similarly commented on the agreed compensation between the artist and the player OJazzy. Whethere he was paid as a session instrumentalist or as a producer and songwriter on the record (which he is) becomes an argument of moral proportions, but that’s exactly why the business of music should ideally not come secondplace to the creation, especially not during these periods of long-reaching contractual consequences which might make or break a musician.
In all of this, the viability of culture restores itself to the zenith of popular conversation, and that’s a win. The proximity to global success shouldn’t obscure the fact that a thriving industry doesn’t consume and regurgitate everything, rather it listens and moves with the trueness of personality. As more societal concerns have revealed, the destiny of Nigeria rests in the potency of its individual parts, and where one is doing something right, it shouldn’t be hard to give praise and learn respectfully, if one so desires.
For too long the southeast has been excluded from discussions in mainstream media. Lauded for business and economy, and less for its culture and philosophy, there’s a need for more investors in the creative landscape but also more focused efforts from within. As someone who cracked the scope many years ago, it’s fitting that KCee is again at the forefront of this conversation. It goes beyond the Oja; this is the heartbeat of life at its finest.
ICYMI: THE GRAMMYS ADDS NEW AWARD CATEGORY FOR AFRICAN MUSIC
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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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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