Native Horror Stories Competition: Winners announced

Posted on by The Native

After 90+ entries in the last two weeks from talented writers across the country, we are pleased to announce the three winners of the inaugural NATIVE Horror Stories Competition. Verem Nwoji, Chidera Solomon Anikpe and Gabrielle Harry are this year’s winners, in selections made by chief judge, Eloghosa Osunde, amongst a series of strong contenders. 

Here’s what Eloghosa Osunde had to say about the final three: 

GABRIELLE HARRY – ‘GIRLS WHO FLY AT NIGHT’

In ‘Girls Who Fly At Night,’ Gabrielle Emem Harry writes a compelling tale here, full of witchy brilliance and a thrumming presence. Reading this was so satisfying, but also of note here is the structure which is tight and sturdy, even while being desirepacked. Its prose is seductive, wickedly clever, and darkly composed. A stand out winner in every sense. 

VEREM NWOJI – ‘WITCH TREE ON THIS HAUNTED HILL SHALL I CLIMB INTO?’

Verem Nwoji gives us a shadowy world — about pressures, friendship and morphing —  that slow burns with a lucidity I did not want to turn away from. A true star of a writer, I was moved by both Salome and Hadiza’s ways of navigating the world. The bird, the tongue and the mother all brought me deep delight. I can’t wait to see what the writer does next.

CHIDERA SOLOMON ANIKPE – ‘THE GIRL WHO LIVED’ 

Chidera Solomon Anikpe’s work whirls around a relatable question in this text: who are you willing to be, and what are you willing to do for the sake of your need? What follows is this winding exploration of sharp want and murky intent, motherhood and barter, sacrifice and the ensuing dynamic between clear women, in which Chidera’s writing is sweeping in scope, confidently rhythmic and deftly measured, reeling the reader into a waiting fog one sentence after the next. 

NOTABLE MENTIONS:

Faridah Abdulrazaq’s ‘WATA’: For the character Amoke and how she unfolds on the page; its deceptively lighthearted dialogue; the overlay of contemporary Lagos dating life and the water. 

Ray Ukuame’s ‘Head Over Heels’: I was especially impressed by the second half of this. In a story powered by raciness and suspense, its final scene emerges wonderfully, and with stubborn staying power.

Ene Afoma Lynda’s ‘Madness of Conscience’: This submission moved me. The story between two compelling figures with the same mission, and different methods. The Cook and The Writer are both crucial and in their rights. When their paths collide, what happens next is a type of rest. I love that this exists.

Hanson Iboro’s ‘The Bush Baby’s Revenge’: The middle of this story is my favorite part. Sheer chaos, high stakes and dark humor. Patience the bushbaby is memorable.


[Featured Image Credits/The NATIVE]

Can We Achieve Inclusivity On Nigeria’s Fashion Runways?

Posted on by Jessica Onyemauche

In recent years, mainstream platforms like Heineken Lagos Fashion Week, Arise Fashion Week, and GTCO Fashion Weekend have been accused of lacking inclusion on their runways. Many believe that the models who get to walk the shows are only chosen from a certain demographic – young, skinny, and conventionally attractive individuals. 

In 2017, the launch of Rihanna’s Fenty Beauty caused a monumental shift in mainstream fashion discourse with her 50-plus shades of foundation, giving a new voice to the mantra “beauty for all.” This shift awakened many consumers who began to protest against brands that aren’t representative of all women. Although the conversation about less-inclusive brands is yet to pick up the same kind of steam in Nigeria, it is still casually discussed by people who care. They contend that representation should be the staple  for every brand. People want to skim magazines and find people who look like them, find products that match their skin tones in every makeup line, and watch runway shows that showcase bodies that look like theirs. 

A 2024 report by Nigerian journalist, Bolaji Akinwade, for CNN, revealed that some Nigerian fashion labels were “forced” to show in private last year during the Lagos Fashion Week Spring-Summer 2023 shows, because there were discussions within the industry centred around the certain presentations been deemed too queer. 

When we place a microscopic lense on the Nigerian fashion runway we find out that fat people, queer people, old people, short people, and disabled people are either  underrepresented or missing from the scene completely. The Nigerian fashion industry thrives on slow fashion, even for ready-to-wear brands, meaning that Nigerians would prefer a custom-made fit when buying from a national designer. Therefore, the wrangling of size inclusivity is mainly found on the runway. There are even several Nigerian brands that proudly only cater to plus-size individuals as their branding strategy

Globally, the world of runway fashion has always been exclusive: tall, skinny models with sculpted cheekbones, and arresting strides have been viewed as the quintessential model type for ages. Vogue Business analysed all shows and presentations on Vogue Runway for Autumn/Winter 2023 to determine the level of size-inclusivity amid the clamour for representation and these are the metrics: 96.5% of models were straight-sized (US 0-2), 3.8 % were mid-size (US 6-12), and 0.6% were plus-size (US 14+). 

The image of an ideal model is a Western import, a reflection of their beauty standards prior to the advent of BBL fashion. In fact,  former Chanel creative director, the late Karl Lagerfeld, told the German magazine Focus in 2009, “No one wants to see curvy women,” as he defended the well-established practise of hiring rail-thin models. The feminine beauty ideal in most African countries, especially Nigeria, the most populous Black nation on earth, is the curvy woman. Therefore, we can deduce that the lack of size inclusivity on Nigerians runways is not a reflection of our own society’s beauty standards, but adapted industry norms which have continued.

In September 2024, Alexandra Obochi, a plus size model and multidisciplinary creative, lit a torch on the lack of inclusivity on the Nigerian runway, with her GTCO fashion week model casting audition. “You’ve never seen a woman like me on GTCO’s runway, have you?” she asked. “And let’s be honest, size 12 is not a plus size model.” While blasting GTCO for constantly not including plus-size women on their runway, she emphasised that 67% of Nigerian women are above size 14 and fashion – and the runway – should belong to everybody. She also acknowledges that steps are being taken by designers to include bigger people in fashion but there is still much work to be done. 

Her audition video, which was circulated by several media outlets, garnered over 900,000 views on her TikTok account, leading to an avalanche of conversations and debates across social media still firmly stands by the primary message in her video, despite the backlash she received on social media. “Plus size women are women as well,” she tells The NATIVE. “Yes, the runway is a place where art is put on full display but I believe that art imitates life.

“Everybody wears clothes. I have never heard or seen brands reject money from plus-size women, some brand’s strategies even include just catering to plus-size women, so if we are good enough to be your customers, why not have us on your runway?”

In response to the critics who believed Obochi lacked the major criteria for modelling which is the ability to strut, she says, “You don’t expect all bodies to move the same. And as I said on Twitter, it doesn’t have to be me, it could be any plus-size model. ” 

Misturah Abisola, a fashion enthusiast and the creative director of an inclusive modelling agency, Misty Glam Company (MSG), believes that plus-size models deserve their spot on any runway. When asked if she sees models of all sizes on Nigerian runways, she says: “In some shows, yes. But in many, sadly, no. A lot of runway shows still stick to a narrow view of what beauty should look like. That’s exactly why we launched Misty Glam Company to flip the script. We believe that every body type, skin tone, and personal story deserves its moment on the runway. When fashion embraces diversity, it’s no longer just about the clothes, it becomes a celebration of the people wearing them.”

Misturah believes that the runway is a global stage and what is “acceptable” influences how we see ourselves. Exclusivity doesn’t just show us who’s considered “beautiful,” it sends a message about who is considered worthy. She encourages Nigerian brands to be at the forefront of change in this global issue.  

Seeing the models who got to the next stage of attending the GTCO physical casting, we can safely surmise that Obochi was right when she inferred that GTCO wasn’t going to pick her because she was plus-size. “After rejecting my audition I tried to reach out to GTCO in hopes of getting my brand, Ndiiche, which is big on inclusivity and representation on the runway, but I received no reply from the organisers,” she says. “I don’t know if they don’t check their mail.” 

Despite the rejection, Obochi didn’t back down, she tried to get her brand on GTCO’s runway by reaching out to the organisers. An attempt to ensure that  models like her are seen in their fashion arena and was still unsuccessful.  

At another end of this debate are experts who are of the opinion that runway modelling has been shaped to exclude plus-size people for a variety of valid reasons. Xorlali Plange, a costume designer, shared his thoughts in a Twitter thread. “Models are simply canvases on which creatives display their work,” he explained.“It’s just a three-dimensional representation of a sample; a sample of the creator’s art and not wearability. This is why models are always straight-sized.” Plange believes that agitation should only appear when brands fail to include plus-size models on clothing websites (where real clothes are being sold) because that’s what needs representation.

Plange further elucidates the reasons for this exclusion. “Now a model as a 3-dimensional form is expected to be flat, it’s literally like hanging a dress on a moving wall for view,” he says. “Which is why in early modelling, apart from being slim, they can’t have wide hips and prominent breasts. Runway modelling is not about the model. It has never been. In several cases, models who were considered ‘pretty’ were not allowed to walk. They can do commercials and photoshoots, but they can’t walk. It was said their pretty faces took attention from clothes.”  

In a bid to make sense of why plus-sized models like Obochi feel sad about being shut out from the runway, he suggests that people who walked on the runway were suddenly deemed to be the face of beauty standards and he isn’t certain on how this shift happened.

Another point Plange made was the financial burden on designers to make these dresses. “In later years, some designers also argued that sample dresses needed to be small to save fabric and haberdasheries, since sample clothes don’t bring money directly to the designer,” he explained. “At New York University, we’re more inclined towards half scales, so some are actually using 3D printing.” By his reasoning, designers looking to save on costs prefer straight-size models, as the runway is simply a display of ‘‘if I can make it for them, then I can make it for you too.”

Ruth*, a fashion vlogger, says that from her experience working as a creative editor for a hair care brand, people demand for one thing, yet they don’t show up when it is presented to them. “I have worked as a creative editor for a hair care brand. I will tell you this, videos of models with long and full hair always do better. People love to clamour for inclusivity but appealing to what the majority wants to see will get you there faster.”

Ruth also agrees with Plange that inclusion is financially tasking for designers. She averred that sartorial pieces on the runway are usually custom made hence it takes a lot of time, effort, and money. So, logically, brands will only make runway dresses for straight-size people “Also, if you follow up on a lot of fashion shows you see that when plus-sized models are put on the runway people don’t talk about the dress rather, they fixate on the fact that the brand used a plus-sized model. This reiterates my point that dominant features take away from the dress.”

Ruth goes as far as criticising the idea that all brands should be inclusive. She believes that brands are allowed to have a target audience. She compares the agitations about size inclusivity on the runway to those of the beauty industry. Tir Tir, a Korean beauty brand, was caught up in controversy for having limited shades, but their primary consumers are Koreans. “Koreans are light-skinned, it will be an unwise financial decision to make foundations for everybody,”she says. Ruth concludes by stating that instead of the constant debate we need to start supporting inclusive brands. In consideration of Ruth’s argument, the statistics say otherwise, plus-size women have always been the big spenders in fashion. The plus size clothing market is currently valued at  US$288 billion  and is projected to reach US$ 501.35 billion by 2033.

No better insight can be provided in this discussion than from runway models themselves. Chinelo Igbegbunam, a runway and pageant model with over seven years of experience, believes that sizes differ based on who you work with. “International brands love to go for size zero, two, four, and six, but that’s not the case with Nigerian designers, they usually select size eight because they desire to work with models who have prominent hips,” she says.

Chinelo believes that you cannot solely blame show organisers for the lack of representation because they supply what the designers want. “These designers make their dress before the show, and if it’s made for straight-size models, then the organisers will provide straight-size models,” she says. “If this dress doesn’t look good on the models nobody will want to buy the clothes. So for flexibility to even come about, these designers should be the ones making the moves.” 

Okoh Naomi Chidinma, a size eight Nigerian model who is represented by an agency abroad, says that her agency has requested her to lose a lot of weight that will get her to the prime goal of size four or six. “I’ve been asked to lose so much weight to a size four or six which is very unfair. I look forward to being one of the first models to break that stereotype. Nonetheless, I think the industry is becoming increasingly inclusive and I like that for us.” 

Despite deeming it tedious to fulfil the international criteria of the expected body size of a runway model, Naomi still plans on working on her figure. “Generally, I’m from the Nigerian market. I have a high order here but who wants to limit themselves to just one country?” she says.  “I am still working on my body so I can travel abroad and complete my success story.”

Chidinma’s desire to get to a size four brings us back to why size exclusion is heavily criticised in the fashion industry.  An article by a former Vogue Editor, Kristie Clement, published in The Guardian, exposes the terror models suffer to make sure they can still fit in a designer’s dress. Often, they resort to starving themselves to the point they have to be hospitalised or eat toilet paper to deal with hunger.

A country blessed with rich cultural diversity ought to embody inclusion and heterogeneity in our art, and the runway is no exception. As Christina Mallon, the chief brand officer at Open Style Lab, remarked, “Fashion and beauty and the runway create culture, and we need to create a culture that’s truly inclusive.”

uNder: Best New Artists (October 2024)

Posted on by The Native

As African music continues to dominate the global stage, it’s become more and more important to lock in on new talent and watch their growth from its early stages. 

For this month’s edition of uNder, we’re highlighting the best artists from across the continent who have risen above the tide of emerging talent — from Southern Nigerian talents WesthanBoyz, whose soulful sound taps right into the melancholia and search for community that rules young people’s lives today, or South African singer Joya Mooi whose  refreshing, heart-on-your-sleeve honesty powers her catchy alt-R&B cuts.  

This months selection also includes the talents of Rwanda-born Sarah Phenom, the enchantress whose evocative style takes all the best influences from R&B and Soul; and Nigerian act, Soundz, whose unforgettable hooks are sure to become a staple in Afropop as his star continues to rise. 

Read more below and listen to our uNder playlist here:

 

SARÀH PHENOM

For fans of: Anabel Rose, Aya Nakamura & Lavaud

Sarah Phenom is a musical omnivore. While the London-based artist’s music – which is still in short supply at the moment – mostly operates within the framework of popular music, it’s a refreshing mix that marries the progressive tempos of Afropop with stateside Hip-hop and R&B influences into a “melting pot” as she describes in a recent interview with NATIVE. It’s no surprise that the fast-rising star’s music is chock-full of various influences as a nomadic life – born in Rwanda, raised in Belgium and France, and now based in London – has ensured she’s developed an eclectic taste that comes across evidently in her music and crisp visuals. 

After a memorable showing on “Edamame,” an enthralling cut off Molitor’s 2022 compilation album, Sarah Phenom released her official debut single “10%” in early 2024. The single offered a polished and punchy introduction to Phenom’s style as she smoothly sings about the push-and-pull qualities of a flawed relationship over some groovy basslines and moody synths. “I thought about calling you today, But then I just put my phone away,” she sings relatably in the opening seconds of the single. Phenom followed up her debut with the bouncy “TESLA” where she shows off her rap and multilingual skills before recently releasing her debut project titled “girl.”

The 6-track debut coalesces much of Phenom’s wide-ranging influence into dynamic and entertaining records that showcase her artistic range. Aside from the pre-released “10%” and “TESLA,” tracks like “Don’t Stop” which takes influence from the UK’s electronic subgenre DnB and the extremely groovy, House-inspired “Boyfriend in Paris,” are further proof of her eclecticism and ingenious style that’s equally entertaining and refreshing. The Thisizlondon-assisted opener “Ou La La” is also a standout cut, as the London-based singer effortlessly glides atop a riotous beat, showing off the scale of her artistry and laying down a strong marker for the exciting potential that she possesses. 

 – B.A

 

 

Soundz

For fans of: Crayon,  Oxlade and  Joeboy

There’s an irresistible charm to Soundz’s music. Whether he’s serenading a love interest or singing about the demands of becoming a successful act, his approach is usually uncomplicated, blending the tender sensibilities of Afropop with R&B to make for extremely melodic earworms. Aside from his breezy, straightforward approach to making music, a huge part of Soundz’s appeal is his ability to craft killer hooks that stay with you long after you’ve heard them. Take for example “Attention,” his 2022 sleeper hit that helped him achieve mainstream success, built around an incredibly catchy hook that has an ease to it. It’s formulaic, but it works.

This formula – which heavily relies on Soundz’s melodic instinct – has taken some time to nurture. While early singles like “Shakara,” “Okay” and 2020’s self-produced “Cinderella” are tuneful, they don’t particularly stand out when stacked up against the plethora of breezy Afropop numbers that have become ubiquitous on streaming platforms. After slightly refining his sound, the Lagos-born singer found the perfect groove on 2022’s ‘In The Rough.’ In an interview discussing the creative process of the project, Soundz explained that the EP was inspired by a rough patch that he experienced. The songs are, however, anything but rough. They all sound slick and streamlined, powered by straightforward lyricism, inviting melodies and harmonies as well as his characteristic saccharine hooks. 

Following the success of ‘In The Rough,’ which peaked at number 36 on the TurnTable Top 100 Albums chart, Soundz has continued his ascent to the the top of the Afropop pyramid with singles like “at your Service,” the uber-chill “Kiss N Tell,” and “Fever,” a lustrous duet with Fave which has found considerable success on streaming platforms. More recently, Soundz released his sophomore project ‘Diamond & Roses,’ a neatly executed 4-track pack that offers more airy Afropop cuts which will likely have you longing for your toes in the sand with a drink in hand. The records are not groundbreaking or eccentric, but they possess an irresistible quality that continues to help Soundz stand out amidst the new vanguard of Afropop stars. – B.A

 

WesthanBoyz

For fans of: Ajebo Hustlers, Styl-Plus, and Bracket. 

Afropop might be in its glitziest and most commercial era yet; immensely rewarding solo stars who operate as the nucleus of their creative orbit – but the genre has always showcased stellar bands that reaffirm the magic that can happen when  two or more coming together to build out soundscapes that are both intriguing and well-paced. From The Remedies to P-Square , Styl-Plus, and Bracket, Nigeria has witnessed musical groups capture the zeitgeist across eras. Hailing from the country’s southern powerbase, Port Harcourt, WesthanBoyz are steeped in the tradition of Afropop’s greatest groups, subsuming influences from Rock, Hip-hop, and indigenous call-and-response music into their soul-leaning sound. 

WesthanBoyz broke out thanks to a flurry of freestyles and covers that resonated with their online community. They have continued to forge a path for themselves with a series of well-curated releases that tap into the subtle resignation of online melancholia and the fraternal sense of community that young people are tapping into to escape the bleakness of 21st century existence. Their debut single, 2022’s “Foreigner,” is a somber reflection on feeling like an outsider thanks to a mix of paranoia and the struggles of youth. 

The topics that WesthanBoyz tackle place them in the lineage of another Port Harcourt star, Omah Lay, who is lauded for his nuanced takes on sensitive topics like mental health struggles and heartbreak. If there was any doubt about the raison d’etre for their music, the Zeezy-featuring “Suicidal,” written from the brink of a mental breakdown, is imagined as an encouragement to keep striving despite life’s uncertainties. For all the angst that populates their music, there is a deft sense of carefreeness that breezes through their music. “Diallo,” off last year’s two-track release, ‘Wild West,’ is a supple romantic number fit for year-end revelry while “Kaduna Babe” is a more uptempo groove. WesthanBoyz have kept up with their impressive streak in 2024. “High Way,” an orchestral-inspired tale from the doldrums, sees the boys’ insecurities and vices rise to the surface. But the real highlight from this year has been “Red Line,” a tear-jerker in the fashion of Styl-Plus that contemplates survival, escapism, and the troubles of figuring out a pathway to sustainability in Lagos  – W.O

 

Joya Mooi

For fans of: Jorja Smith, Yamiko, Konyikeh

For someone releasing music for as long as Joya Mooi has, it only makes sense that her artistry has undergone several phases. The Johannesburg born singer, raised by two musically-inclined parents, could hardly escape having a vast musical background woven together by Jazz, Electronic and indie R&B. “My father plays the trumpet, my mother sang, and they really loved the idea of all of their kids playing music. So I started playing the saxophone, but by then, I already knew I wanted to sing as well. I was too shy to ask for vocal lessons, but from then I started writing lyrics and melodies in my room,” the singer shared in an interview, ahead of her 2020 release ‘Blossom Carefully’. 

Across the 6-track EP, Mooi soundtracked a myriad of emotions alluding to a longing for freedom that audiences at the time could easily relate to given the pandemic-induced lockdowns. While “Hold You Tight” expressed a longing for intimacy, the titular track hones in a feeling of loss and the need to seek a sense of belonging. And her earlier works do just that – perfectly mirroring a search for one’s self that later arrives with a sense of resolution on her 2023 R&B album, ‘What’s Around The Corner.’ 

For her most recent offering, ‘Open Hearts,’ Joya Mooi switches gears to the more upbeat tempo of Electronic music, strung together by the emotive confessionals and mellifluous vocals borrowed from her inescapable R&B roots. However, she also clearly indicates that  the road to self-discovery is never ending, with each song being an introspective exploration of her personal identity, collective heritage and true authenticity. As always, Mooi wears her heart on her sleeve, encouraging her listeners to navigate their own path to truly embracing oneself. While intro tracks “Poster Child” and “Open Hearts” are coloured with the vibrant strums of House music, “No Holding Back” optimises a more melancholic approach, allowing the groovy beats lay in the background of her refreshing vocals. However, the EP closer, “Overlooked Ghosts,” takes us right back to the dance floor with vocal assistance from Gracy Hopkins. Joya Mooi’s discography is a clear indicator of her incessant progression and maturity in delivery as well as her abundant musical range, leaving her perfectly positioned for a bigger breakthrough in the near future.

 

Under Live Alum, Rigo Kamp drops 2-Pack

Posted on by Boluwatife Adeyemi

uNder LIVE alumnus Rigo Kamp has released his long-awaited debut, a two-pack titled ‘Summer/Morning Sun.’ The single comes off the back of a string of impressive live performances – including NATIVELAND – which has made Rigo a well known and highly respected vocalist and performer across Lagos’ live music circuit, alongside multiple teasers and unique reimaginations of a few classics and popular songs. The rising star has managed to build feverish anticipation for his original material amidst a fast-growing audience who have been drawn to his unique and eclectic style and that’s what his debut offering succeeds in delivering.

The upbeat opener “Summer” is a warm, funky number that conjure disco balls, shimmering lights, finger snapping and a fun two-step. Rigo sings with an irresistible magnetism and charisma over the locked groove of a Disco-inspired beat, making for a bold and delightful introduction for anyone that’s unfamiliar with his sound.

“Morning Sun” is equally bouncy, but its groove owes more to an infectious percussion loop that brings to mind the quiet storm era of the late 1970s as well as the luxurious Soul and Jazz-pop blend that acts like Sade popularized many years ago. Alte royalties GMK and Odunsi The Engine are on production duty for both tracks but it’s the latter’s presence that’s more telling, as the soundscape that Rigo explores here seems to emerge from the same universe that the talented artist-producer similarly explored on his seminal debut ‘rare.’ 

Aside from the eclectic and rich production that informs the two-pack’s distinct sonic style and helps keep it refreshingly crisp, another standout quality from Rigo’s debut is his elastic and smooth vocals that stretch from a soothing tenor to a weightless falsetto that accentuates every little emotion and backstory that Rigo looks to convey. His voice is just as elegant as the beats he sings on, making for an incredibly soothing and lush musical experience.

“Summer/Morning Sun” is set to usher in Rigo’s upcoming debut project which has taken about nine months to put together, according to the talented singer. Speaking about the forthcoming project Rigo explains it will explore “where I was and where I am right now.” He also adds that some listeners may not be able to relate to his music lyrically but “sonically you’ll be able to feel something.”

 

Review: ‘Emotions’ by Ckay

For the longest time, CKay cut a polarising figure in the music industry. His early career was dominated by industry-wide conversations and unrelenting social media-led critique of his emotive style and where it fit within the wider Afropop plexus. Between a buttery voice tailor-made for soundtracking the afterhours and an innate knack  for the softly sensual, some of his earliest work didn’t channel his best qualities. Back then, it often felt like the scattered-gun effort of a creator figuring out a path to his instinctive core. Things finally seemed to click into focus on ‘CKay the First,’ his 2019  extended play that distilled his warm melodies, soft whispers, and languid take on Afrobeats into a cohesive piece – and birthed his smash hit, “love nwantiti (ah ah ah).”

Riffing off the belated global success of  “love nwantiti (ah ah ah),” in 2021, CKay emerged with a vision of himself as Africa’s Boyfriend, a wholehearted embrace of his endearing interpretation of Afropop’s romantic side. If CKay’s motif was to present himself as a bleeding heart romantic, the sonics – swirling violins, tender guitar riffs, and pristine keys – set the stage; but the lyrics didn’t always follow through on that reality.  If anything, the messaging often snuck hints of the toxic edge bestowed on R&B by 2010-era stars like The Weeknd and Brent Faiyaz. The contradiction between his zest for love and those darker impulses made songs like “WATAWI” and “come close” off his debut album, ‘Sad Romance,’ fascinating listens that displayed a knack for expertly dramatizing the minutiae of modern relationships. 

On his sophomore album, ‘EMOTIONS,’ CKay picks up right from where he stops on  ‘Sad Romance,’ completing the metamorphosis from lingering, occasionally jilted lover, to flaunting his comfort navigating contentious romantic dynamics. Where a lot of ‘Sad Romance’ was spent just inching towards the carefreeness of proposing a one-night stand or situationship, he leans fully into that noncommittal instinct on “THAT FEELING,” the opener of ‘EMOTIONS,’ warning a love interest not to catch feelings for him while promising to give her supreme thrills at every turn. CKay has always understood the emotional resonance of his Eastern Nigerian heritage as a springboard for some of his most inspired work and on “EGWU EJI,” he proclaims the beauty of African women over a relaxed blend of Amapiano’s log drums, guitars, and the Igbo oja flute. The idea for “EGWU EJI” sounds thrilling enough, but lines like, “Shey your nyash na the fake one abi na the real one,” betray the lack of emotional rigour that CKay has built his second arc on. 

That misstep aside, there’s a lot of soul-searching  on ‘EMOTIONS’ that shows the range of CKay’s talent. Like his predecessors in the brooding and anguished variation of R&B that took root in popular culture around the late 2010s, CKay can be paranoid and distrustful. On “RIDE OR DIE?”, he’s asking a love interest to prove the depth of her love for him while warning that he’s also distracted by his search for money. In between all of this, he’s also dodging police officers and sex workers in Lekki while out with his lover – it all feels like an epic, slightly fantastical, journey through the rowdy maze that is Lagos.  “IN MY BED” feels like the spiritual twin of “RIDE OR DIE?” as CKay asks, “But is this love?” Sadly, its pace is ponderous –almost lethargic – mirroring the listlessness that creeps into parts of ‘EMOTIONS.’ 

Per CKay, ‘EMOTIONS’ is not strictly about love or romance. In an interview with Apple Music, he said that it was a full portrait of his life as a young Nigerian. “It’s a lot more than love on this album,” he explained. “It’s my story and my struggles, all the stuff I had to go through to get to this point. It’s basically me talking about how many battles I had to fight, even with people that I love just because they couldn’t see the vision at the time. I just trusted that it was a good fight, like fighting you in love in the sense that when you understand you’ll catch up.” 

The moments that go beyond the high drama of his romantic life are few and far between but they make for some of the best parts of the album. In recent years, CKay and Olamide have struck up a great chemistry and they keep their streak going on ‘EMOTIONS.’  “VANITY” reflects on the journey that CKay has had to undergo to make a success of his musical drama. It also holds the best spurt of melody on the album that comes when CKay brings up the monumental battles he fought for his spot. “I fight my enemies / Fight my friends, I fight my family,” he affirms. Characteristically, he defers back to love, reminding everyone that, “I do it for y’all /  I’m a warrior,” while setting the stage for Olamide to contribute a verse about his own come-up and the struggles that he’s had to face. 

The guests on ‘EMOTIONS’ are especially memorable, sparking life into CKay’s work at different turns. On “Dorime,” Los Angeles-born shapeshifter, Ty Dolla $ign, joins CKay for an ode to their fantasy women. It’s a trilingual effort that sees both artists adopt the stylistic cadences of each other’s country for a smooth blend that is easily CKay at his titillating best. There is a bevy of groundbreaking guitar work across ‘EMOTIONS’ done by Mauritian guitarist, Mooneesawmy Devadasen. Devadasen’s work on the opening stretch of “WAHALA,” another Olamide collab, is instrumental for setting a tropical vibe that carries through the song and creates the perfect conditions for CKay’s voice to shine through with another verse by Olamide that suggests that the YBNL head is still reaching new artistic heights despite all his years in the game. Nigerian highlife duo, The Cavemen., are perhaps the best stylistic companion to CKay in Nigerian music and they fit like a glove on “ADDICTED,” complimenting his balmy flow with their raspy delivery over a soft percussive base, as they moan about being addicted to a lover. 

At its best, CKay’s music represents a bold, new direction for Afropop that embraces the importance of free-flowing emotions and candour, over faux performativity. On the flip side, CKay’s weaker songs feel like dispatches from a deep abyss that maintains a callow obsession with sex and the simulation of love for the sake of a good story. “MYSTERIOUS LOVE” falls into the latter category, lacking the will and inventiveness that powered songs like “emiliana” and “Kiss Me Like You Miss Me.” When that same level of half-hearted introspection is applied to even weighty matters like getting his thoughts on self and his industry off on “THE FINAL BOSS,” it feels disjointed.  The self-adulation on “THE FINAL BOSS” feels like the sort of chest-thumping brags that we’d make among friends — but on ‘EMOTIONS,’ it’s a underwhelming end to an album that promised so much but, ultimately, delivers only a narrow variety of emotions.

 

How to healthily process the abuse you may have faced as a child

Posted on by The Native

TW: This post contains details of parental abuse and violence.

For most of us, our parents are our first basis of interaction with the world and whether we realise it or not, the way we were treated at home has lasting impacts on the way we relate with ourselves and with society in general. Unfortunately, if you grew up in Nigeria, then one of your earliest experiences of what the world would look like came through physical violence, as corporal punishment is the dominating mode of child discipline in the Nigerian home.

Corporal punishment, or what we call ‘flogging’, is so tightly woven into the average Nigerian family’s discipline culture, that it’s upheld in almost every institution from our homes to schools, to religious places, and even the workplace. It’s been so widely accepted as the norm that some of our leaders feel comfortable physically assaulting female store clerks on camera, without fear of any repercussions because the very laws put in place to protect us make provisions for physical violence of some form. For those who are not familiar, there are provisions in our criminal code that allow the use of force by parents or legal guardians (and masters) on their legitimate or illegitimate children (or servant), under the age of sixteen years for ‘misconduct or disobedience to any lawful command’.

What amounts to ‘lawful command’ is left open to interpretation within each individual home. Whether parents are aware of the existence of this law or not, their power and authority over their children has definitely been abused countless times, as most Nigerians would have experienced during childhood. I, for one, remember my parents arming themselves with anything within their reach to wield as a weapon for correcting disobedience, which definitely left scars, both physical and mental, that I still remember to this day. Disobedience or not, flogging a child that’s barely learnt their way in this world is not the ‘right’ way to impart any real discipline because you inadvertently raise children who view love as suffering and abuse, and who never demand better for themselves because they are taught to silently accept the pain and trauma.

As the child’s first point of contact in the world, the family home is meant to feel safe and nurturing not hostile and unwelcoming. Whilst there might be no denying that our parents definitely loved us, and still do, a lot of us are beginning to notice in our adult years, that we were raised on fear, manipulation, and blind servitude. Alongside this, the proliferation of videos shared on social media depicting physical abuse in the home has meant that many of us have relieved this trauma from our childhoods over again, and though the majority are well past any physical altercations from our parents, there are young adults still struggling to sustain meaningful and close connections with their parents due to years of mistreatment.

When a child is raised up on a violent disciplinary diet, a wall of resentment is inadvertently built and this wall serves as a reminder to them that they cannot communicate with their parents if they are in tough situations because they will surely be met with judgment and punishment. The breakdown of these base familial connections is a harmful one for any child as some may end up growing up having deep-rooted trust issues for authority figures that may even seep into their personal relationships, while for others, years of abuse become hard to unlearn as they end up repeating the same patterns to their own children.

Over here, we’re constantly told of the value of physical correction methods, and very often, you’ll often hear phrases like ‘spare the rod and spoil the child’ in conversations surrounding discipline and correction. This has always been a part of our culture as parents believe physical violence is needed to instill discipline in their children, distinguishing them from the ‘oyinbo kids’ who they believe to be rude and disobedient as a result of not being hit. Boomers unlike millennials and Gen Zers aren’t so malleable and they believe that our generation’s new way of questioning societal standards is a harrowing indication that we’re losing touch with our tradition and becoming too westernised. This fear is completely unfounded, as the old way of doing things is just not going to slide for a generation of young adults who have been exposed to the Internet. The fact remains that we are living in a vastly different world to that of our parents and the increasing understanding that we are all connected has spurred more empathy from many young adults today.

Given that authority is flouted at all levels of life in Nigeria and the way that we generally treat each other is widely atrocious, I don’t see any discernible benefit of the brutish disciplinary methods that characterises the Nigerian upbringing. It’s time to do away with these methods and really question why we result to them in the first place. Looking at our society, it is clear to see that many adults don’t view children as individuals in their own right but as extensions of them. Not that there’s any ‘right’ reason to have kids, but we’re sure that if you asked any Nigerian parent why they did, many won’t immediately say it’s because they wanted to bring independent individuals into this world to blossom but because they are more concerned with their children carrying on their legacies or living the lives that they were not afforded while growing up.

Parenting is not just about providing for a child, and we have to reach a point where we go beyond surface-level connections with children and actually nurture and form the basis of how they love others and love themselves. The dangers of children growing up as adults who have lacked a foundational basis for love is very damaging and we can see this today, with a society of young people who are not sure of themselves and who become easily swayed when making value judgments. It leads to a generation of young adults who are raised to readily accept abuse and protect abusers rather than speak up when things are clearly wrong. This is damaging because we end up with people who choose to mask evil and violence with faux perceptions of ‘culture’ rather than demand social progress.

What has long been the case in many homes is that when physical violence is no longer effective in disciplining the child, many parents substitute this method for emotional and verbal abuse, which isn’t even considered to be a big deal in many homes. Even more dangerous than physical abuse, verbal abuse tends to form the basis for self-depreciation, as the voices in your head are often made up of what you’re being told about yourself. Parents don’t tend to realise these harmful effects on their children until it’s far too late, when their children have grown up ill-equipped to take on adult life due to a lack of self-confidence or low self-esteem.

Whether we’re conscious of it or not, we’re always tracing things back to our parents and we spend a lot of time either attributing or blaming our actions on them because they have a responsibility to care for us. So when you raise a child on a diet of criticism, judgment, abuse, and physical violence, it’s only a matter of time before they take over from their parents, and embody the toxicity they were raised upon. Luckily as a generation, we’re more aware and willing to break the chain and unlearn harmful behaviours our parents didn’t from theirs. Regardless of this, when we see brutal cases of abuse, from the South African father whose son only passed music after his father paid $21,000 in school fees, to that of a young boy profusely begging with his mum to ‘calm down’ and not flog him, we’re taken back to when we felt helpless as children, and our voices were stifled by their authority.

After a lifetime of regurgitating to yourself the negative messages that are well-entrenched in your mind from the adults who raised you, to end the cycle we must heal and move on from this past trauma. In a bid to help you begin this process, we’ve compiled a list of helpful steps (from a number of online psychology platforms that promote healing for children who have been abused at home) that could go along way in your journey towards recovery.

Establish healthy boundaries.

Setting boundaries is an important part of establishing one’s identity as an adult and is a crucial aspect of mental health and well-being. Boundaries can be physical or emotional, and the first step in forming them is to access the boundaries that already exist (or are lacking) in your life. With parents, establishing and maintaining boundaries can be very tricky especially if you live together but communicating with your parents that you’re an adult who is unwilling to compromise in matters regarding YOU is an important step.  It could really be as simple as being able to lock your room door or not attending your childhood church, and range to bigger steps like moving out. The best thing about boundaries is that they’re not set in stone. It’s good to think about them and occasionally reassess.

It’s okay to cut ties with a toxic parent.

This is easier said than done because many of us are still financially tied to our parents due to school, work, and other reasons. As you grow older, you should only be surrounding yourself with fulfilling relationships that serve you wholly. It doesn’t matter how much you love some people, even your parents, you’re not responsible for them or for the state of your relationships with them, and you are under no obligation to keep being abused, belittled, shamed or humiliated. Healing starts with expecting more for yourself, and you’re the only person who can make that decision.

It’s also okay to not cut ties.

Not everyone can walk away from a relationship with their parents, especially when you are reliant on them in the early stages of adulthood. Accept that for now, this is where you’re at, and fully experience what that’s like for you. This links back to establishing healthy boundaries, as living under the same roof can get triggering if those boundaries aren’t in place. Always remind yourself that you won’t spend the rest of your life living under their shadow and you’ll be in a place to move on when the time comes, if that what you want and need. It takes tremendous strength to keep walking into a relationship that you know hurts you, so keep your chin up and stay afloat.

Find your voice.

When you grow up around toxic parents, you are conditioned to believe that the only voice that matters is that of your parents (or authority figures), thereby stifling yours.  Along with this, you learn that only your parents are allowed to have and express feelings and opinions and you are forced to endure their harsh words. Reframe your mindset from this and understand the power and importance of your voice in the world. You are not the ugly words you’ve been called and you deserve to share your gifts with the world so keep working at talking your shit until it becomes second nature.

Surround yourself with good friends.

Friends can be an escape from the pressures at home, so it’s always good to surround yourself with a strong and compassionate support system that is considerate of your past experiences and never use them against you. Also, remember that your friends are their own individuals and may also be coming from toxic environments themselves. In this vein, it helps to cultivate an environment where everyone shares their feelings and fears. Simply being able to speak out loud about the voices in your head is a step to recovery.

Be careful of repeating these patterns with others.

You might find yourself drawn to people who have similarities to your toxic parent. We’re all human. We’re all going to get it wrong sometimes, so don’t beat yourself up if you notice toxic patterns. The first step to recovery is self-awareness so you’re already halfway there. Be gentle with yourself and constantly process your thoughts and actions to assess if they’re detrimental to yourself or to those around you.

Seek professional help.

All these tips are much easier said than done but to really make sure you’re keeping consistent with boundaries and voicing your feelings, the best step is to seek professional mental help to get you through these difficult feelings. This might be a difficult step for those without the funding to seek professional help but there’s a myriad of resources available online right at your fingertips. To help you on your search, we’ve put below are a few websites to get you started on your journey of healing. Although they are not specifically tailored to the Nigerian experience, these websites have proven helpful to us, and we hope they will be to you also.

Positive Psychology 

We Have Kids

Help Guide 

Psychology Today

Featured image credits/Debola Abimbolu

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The Enduring Legacy of The Lijadu Sisters

Posted on by Ify Obi

Nigeria in the 70s – A nation fresh off the throes of a civil war, grappling with rapid socio-political changes and the continued weight of its colonial legacies. From Lagos and Ibadan to Kaduna, Anambra, and Enugu, a new cultural and creative movement was emerging. In this era, when the popular music scene was championed by larger-than-life male personalities heralding Highlife, Funk, Rock, Juju, and Afrobeat, The Lijadu Sisters offered something decidedly different. 

“Music is a message,” Yeye Taiwo Lijadu, one-half of the identical twin music mavericks states in the 1979 documentary, Kokonbe: The Nigerian Pop Music Scene. The confidence in her voice is as firm as her conviction. “It is our responsibility as musicians to speak to the people about what is wrong and what can be better.” And as one of the country’s fiercest mega pop stars, The Lijadu Sisters – comprised of Yeye Taiwo and the late Kehinde Lijadu – spared no effort in speaking and singing their thoughts. 

With folksy psychedelic Rock, Apala, Reggae, Soul, and Afrobeat-infused grooves, The Lijadu Sisters pioneered a space for women in the music industry as the first and most popular female-led band in Nigeria. Layered within their irresistible jams were calls (in English and Yoruba) to society (their fans and foes alike) to face its injustices and iniquities, particularly towards women. Their albums; ‘Urede,’ ‘Mother Africa,’ ‘Danger,’ ‘Sunshine,’ and ‘Horizon Unlimited’ were political musings, protests, and prayers in the golden age of African music. 

Born in Jos in 1948 and raised in Ibadan, the sisters’ musical career began at the age of 10 after viewing the British Comedy, The Belles of St. Trinian’s with their mother. Following the inspiring experience, they began drawing influences from Jazz, Soul, and Rock thanks to their mother’s record collection which included the likes of Elvis Presley, Ella Fitzgerald, the Beatles and Cliff Richard. They were later introduced to African musicians like Yusufu Olatunji, Miriam Makeba, and Haruna Isola. 

By 1968, their limitless musical ear and relentless spirit had taken them from session vocalists at record label, Decca Records, to landing their debut single, “Iya Mi Jowo (Mother, Please),” which is “sung by a daughter who wants to know what she has done to make her mother so distant and angry,” as Yeye Taiwo would explain years later. In 1974, they released their debut album ‘Urede’ and signed a four-album deal with Afrodisia, an imprint of Decca Records. The Lijadu Sister continuously captivated listeners with low-pulse, hypnotic singing and often playful, put-you-in-your-place wit. Their power, however, rested in their soft yet blunt, impossible-to-ignore focus, as opposed to the brash and in-your-face manner of, say their second cousin and Afrobeat pioneer, Fela Kuti who approached his music with fiery grit. For the sisters, no topic was off limits. 

Songs about sex or critical commentary on the government continue to be a part of music culture. Think Tyla’s “Water” or Asa’s “Jailer.” But as vocal young women living in a military-led, male-centred, conservative Nigeria, The Lijadu Sisters’ bravery was unprecedented. They made their lovers aware of their sexual desires on the sultry number, “You Can Touch Me If You Want,” which they’d often perform on tour. They’d also take aim at the government and elites, asking the people to “Get out!, Fight!” against the trouble and shortcomings caused by them as the cult classic, “Orere Elejigbo,” suggests. On the cover of their 1976 album, ‘Danger,’ the two are depicted as superheroes forever ready to protect the vulnerable. Throughout the project, they respond directly to the socio-political issues plaguing Nigeria at the time. The titular track warns of an impending danger lurking in the shadows of the country’s instability, corruption, and the widening gap between the rich and poor, all of which are unfortunately, true to this day. So it’s fitting that decades later, the duo’s striking harmonies and forward-thinking ideologies have crystalised them in Nigerian history as the voices of liberation inspiring newer generations. 

“I think the Lijadu Sisters were the first alté girls,” Ghanaian-American singer Amaare points out in a conversation with Rolling Stone. “I think that they helped me build an ethos of how I wanted to operate as an African woman and as an African artist, an African rock star.” Back in 2021, Ayra Starr who had sampled the Lijadu Sisters’ “Orere Elejigbo” on her single, “Sare” off her breakout EP ‘Away,’ spoke about the sisters saying, “The way men carry Fela, that’s the same way I want women to carry these women that have worked so hard and people have forgotten their name.”

The path of a pioneer is often a lonely one. For eclectic, outspoken young women existing in an era of military rule and working in a developing industry, there comes a price for revolution. Misunderstood, misjudged and mistreated, The Lijadu Sisters faced harassment from the government – one incident taking place during FESTAC ‘77 when a soldier struck a then seven-month pregnant Yeye Taiwo on her stomach with the butt of his rifle. “Women suffer at the hands of men in Nigeria,” Lijadu explains in the Jeremy Marre-directed documentary as the duo rehearse while taking turns to feed Yeye Taiwo’s baby.

‘Horizon Unlimited,’ the flowery 1979 album, would be the last from the sisters’ genre-defining catalogue. By then, their relationship with Decca/Afrodisia had soured with Yeye Taiwo and Kehinde feeling exploited by the label. “They want you to keep owing them, and as far as they are concerned, you can keep owing them and keep paying back until you die,” they say, describing the label’s lack of care for their artistry and contributions to the industry. It was a familiar tale for artists of the time signed to multinational record companies who were more interested in making profit than genuinely developing local talent. “You should be the baby to this company because you are actually making the money for them, but the other side of the coin is that they don’t care.” 

For decades following the end of their deal with Decca/Afrodisia, the sisters flew under the radar as excitement surrounding them slowly fizzled out. Due to limited protection, continuous copyright infringements plagued their work, with over 50 infringements found today, including Ayra Starr’s “Sare” and Nas’ never-released “Life’s Gone Low.”

Having regained control of their catalogue in 2021, The Lijadu Sisters hope to correct the years of injustice via a multi-record partnership with Numero Group. All five of the siblings’ trailblazing albums, will be reissued alongside previously unheard recordings, unearthed rarities, and new rediscoveries. The landmark campaign kicked off with the reissue of ‘Horizon Unlimited’ earlier in the year. “I think one of the most exciting things about the reintroduction of ‘Horizon Unlimited’ is the fact that young folk love our music, and are surprised at the upbeat tempo, and the lyrics, which are not only of today, but also very futuristic as well,” Yeye Taiwo Lijadu said in a press release. 

The Lijadu Sisters’ legacy is one set apart by their unwavering resistance and dedication to using art as a reflection of society. They showed the world that sometimes revolution takes two Nigerian women singing in harmony and refusing to be silenced or relegated to the backburners of history. 

The Majestic voices of African R&B

Posted on by Nwanneamaka Igwe

There are many distinct qualities that lie at the heart of popular African music, but one easy standout is its chameleonic nature. Drawing influence from a slew of genres across various time periods, mainstream music in this part of the world tends to morph with the moment, borrowing landmark qualities of one genre to birth another.  And despite its contributions to the continent’s varying soundscapes, R&B is one genre that doesn’t get the love it deserves; it often ranking low in a culture where audiences lean towards the flamboyant pomp of Dance and its variants,  the lyrical ingenuity of Rap or even Pop’s fun and digestible nature. 

For many, the crux of true musical ability lies in the vocals and storytelling; and despite being criminally underappreciated by many mainstream listeners, it is R&B that often displays these skills most potently, forming the foundation for much of the fusion. That said, it’s impossible to recognise the best voices in R&B without calling on their most impactful contributions to other sounds, especially considering the genre’s years-long residence in the shadows of mainstream African music. 

Recently, the electric grooves of Dance music have hooked their claws into popular music around the world, and Africa is no exception. Straight from the burbs of South Africa, Amapiano emerged as a descendant of Gqom whose percussive elements pull straight from Dance. While the energetic synths are enough to increase your heart rate and transport you to the dancefloor, the once wordless, production-inclined genre quickly sought the dazzling voice of R&B vocalists to further communicate the emotive messages the basslines couldn’t. Queue the likes of Ami Faku, whose silvery chants laid the foundation for some of the biggest Amapiano songs yet, “Abelele” and “Asibe Happy.”

Both tracks held, the soulful and downright gut-wrenching elements that classic R&B is known for, as Faku delivered a performance so moving and timeless that many consider it responsible for Amapiano’s proliferation to the world. Cut from the same cloth is Nkosazana Daughter, whose feathery execution leads the Deep House-led excursions of Private School Amapiano. From upbeat to gloomy productions, Nkosazana is sure to deliver a heartwarming and memorable performance, leaving a lasting impact as her vocals exit the track. While her discography and innumerable co-signs indicate her domineering presence in South Africa’s Dance scene, her unique techniques evidently pull references from R&B’s hallmark characteristics.  Also in this category are other key players like Sha Sha and Venom and Shishiliza, whose porcelain notes weave a stunning level of rhythm, blues, heart and soul with ‘Piano-indented production.  

In a similar way, R&B scaled its initial boundaries after penetrating Nigerian Pop, going  as far back as the early 2000’s. Think Psquare’s “Am I Still That Special Man” where the lyrical sensitivity and emotional resonance is crystal clear; or Styl Plus’ now-classic stack of emotive tunes as seen on “Imagine That” and “Olufunmi,” or even Paul Play’s unforgettable display of love on “Angel of my Life.” That early class of R&B veterans, popularly believed to be led by 2Face, propelled the genre to the limelight while setting the stage for a new generation of stars to later arrive. Now, R&B-influenced Pop music is the order of the day, after an unquestionable run in the late 2010’s where acts like Fireboy DML showed the makings of a quintessential R&B star after releasing ‘Laughter Tears and Goosebumps,’ an album so unapologetically sensitive, it starkly contrasted the entitled and brazen tone popular Nigerian music typically adopts. Before that, we also had the likes of Nonso Amadi’s “Tonight” and Simi’s “Joromi” gaining mainstream recognition, whileMelvitto and Gabzy’s ‘THENIGHTISYOUNG.’ received similar love for its stark vulnerability. 

Soon after, the likes of CKay, Tems and Omah Lay arrived to take things to the next level, slinging the ropes of R&B well beyond its borders.  Where various iterations of “Love Nwantiti” were gaining traction, Tems’ “Try Me” was also pulling at the heart strings of listeners on home soil, positioning her to later deliver a career defining verse that set her up to release one of 2024’s best R&B albums. Omah Lay hasn’t shied away from global success either, since releasing his debut album and its deluxe, which perfectly encapsulated the angst of an early adulthood riddled with extreme emotions. Because his unbridled honesty and melancholic rhythms resonated so easily with audiences, his new approach on the “Holy Ghost” and “Moving” had fans worried we might have moved past the unfiltered rawness of ‘Boy Alone.’  Whether or not his upcoming sophomore release declares a sonic shift from the tunes we know and love, or his cohorts decide to occasionally dip into the fountain of Pop music more times than R&B fanatics would prefer, the upcoming class of contributors indicate the genre is still in good hands. 

Hailing from Cape Town, South Africa, Yamiko’s soothing vocals hold the weight of her soul-stirring confessions, stacked with positive affirmations and confidence. From her 2020 debut, “Healing,” to her recently released EP, ‘Rear View Mirror,’  Yamiko approaches music with a trained conviction usually associated with far more experienced artists, while possessing an admirably childlike wonder for exploration and deep yearning. Also pondering life with a similarly melancholic flair and representing a South African R&B renaissance are Nanette and Phiwo, who never falter in telling the harrowing tales of non-committal romance and unreciprocated love of the younger generation. British-Nigerian singer, Odeal, is also traversing the soulful terrain with balmy vocals, earning the title of UK’s Brent Faiyaz for his sonorous vocals and hypnotic renditions that house a unique hit-making ability and undeniable charisma. The commanding presence of Konyikeh cannot go unnoticed, when you consider how well she wears her excruciating pain on her sleeve translating them to tactfully curated melodies that throw her listeners into a tender yet agonising turmoil. From Eswatini’s Manana to Ghana-Burkinabé’s Ria Boss, the inimitable contributors on this list are endless. And in a scene ridden with upbeat chants, reflective R&B melodies always serve as the perfect cleanser, drawing our attention back to the quieter moments that allow us to address the largely shunned emotions.

[Featured Image Credits/The NATIVE]

ICYMI: REVIEW: ‘BORN IN THE WILD’ BY TEMS

Where Is Asaaka Today?

Posted on by Boluwatife Adeyemi

A few years ago, a couple of young, exciting rappers from Kumasi, the capital city of Ghana’s Ashanti Region, breathed new life into the country’s waning Hip-hop scene. The rappers – O’Kenneth, Jay Bahd, Kawabanga, Cedi City Boy, reggie, Kwaku DMC, Sean Lifer, Rabby Jones, Braa Benk, and Yaw Tog – all took major inspiration from Chicago’s famous Drill music, layering the genre’s characteristic hi-hat and rippling bassline with sharp, abrasive lyrics that switch deftly between the Akan language, Twi, and English. The gripping sound ballooned into a full-blown movement which they called Asakaa, a word which was coined from the Twi word “kasa” (which means “talk”), said backwards.

Like the name suggests, the Asakaa boys use drill music as an avenue to freely express themselves, chronicling the realities of living in Kumerica (a portmanteau of Kumasi and America), as they call it, as well as their various personal experiences. “When you listen to UK Drill, it’s like fights and crime, you feel me? But we, the Kumasi people, we talk about our lives, how we want to win so bad, how God should help us, stuff like that,” Yaw Tog explained in an interview with NATIVE a few years ago. The conservative nature of the Kumasi people along with the infamous reputation that drill music had developed, right from the days when it was slowly emerging from Chicago’s South Side, meant that the genre was not initially embraced by the community. Things, however, took a turn in 2020. 

Sean Lifer, the co-founder of Life Living Records, is largely credited as the defacto godfather of Asakaa, laying the groundwork for the genre many years before its explosion throughout Ghana; but it was the efforts of Asakaa poster boy Yaw Tog that truly pushed the movement to widespread renown. In August 2020, the 21-year-old, born Thorsten Owusu Gyimah, released his debut single “Sore,” a swaggering statement record that went viral shortly after its release and caught the attention of Uk rap star Stormzy who featured on the remix alongside Ghanaian rapper Kwesi Arthur.

 

The original single, which featured fellow Asakaa boys O’Kenneth, City Boy, reggie and Jay Bahd, amassed over 3 million views on YouTube just a few months after its release and the remix racked up even more impressive numbers on other platforms. The single also received a number of notable awards, including the Hip-Hop Song Of The Year award at both the Vodafone Ghana Music Awards (VGMA) and the 3Music Awards. While Tog might have given the movement arguably its biggest moment, the efforts of his peers were just as significant in its proliferation.

Shortly before the release of “Sore,” Life Living Records act Kwaku DMC dropped the vibrant “Off White Flow,” catching the attention of the late visionary designer Virgil Abloh, who featured the Asakaa boys on his Apple Music show Televised Radio. In the same year, fellow Asakaa boys O’Kenneth and reggie released ‘Straight Outta Kumerica,’ a 6-track collaborative EP that perfectly encapsulates the subgenre’s essence. The rappers adopt influences from notable drill giants like Pop Smoke, dousing the late rapper’s electrifying style in local dialects to deliver invigorating music that sounds immediately provincial but also holds a global appeal. 

The success of the Asakaa boys helped drill spill over into Ghana’s mainstream, inspiring many A-listers as well as a host of other young, talented acts in the country to weigh in and put their own unique spin on the captivating subgenre. One of the many exciting rappers who has embraced the Asakaa sound and is looking to progress the subgenre, both sonically and aesthetically, is Beeztrap KOTM. The Kumasi rising star has been dubbed one of the golden children of Ghanaian music, as his distinctive mix of drill, hip-life, reggae and a number of other genres has quickly made him a standout act.  

Born Edwin Eshun, Beeztrap KOTM was raised in Santasi, a suburb of Kumasi. He was born into a musically-inclined family and this helped him develop an affinity for music very early on. As a kid, he served as a drummer in his local church’s choir – where his mum and sister also sang – and he frequently visited his uncle who owned a recording studio. His time at his uncle’s studio helped him learn a lot about making music and this ultimately influenced his decision to chase a career in music. 

After making covers of popular songs and releasing a number of warmly-received singles, Beeztrap’s longtime friend and producer Stichez played the then unreleased “Distance Relationship,” to Asakaa stalwart reggie who was intrigued by Beeztrap’s work and expressed his desire to collaborate with the fusion artist. Jay Bahd and O’Kenneth ended up featuring on the single as well and this helped Beeztrap gain significant attention, especially among the ever-expanding Asakaa fanbase. Shortly after the release of “Distance Relationship,” Beeztrap went on tour with the Asakaa boys and he released his first major hit single “Cinderella.”

The posse cut helped showcase just how dynamic the sub genre has become as Beeztrap was joined by Skyface SDW, City Boy, Thomas the Great, reggie, Braabenk, O’Kenneth and Kwaku DMC to deliver love-inspired lyrics over a slow, seductive beat that takes influences from drill, Afropop and Highlife. The single ended up on Beeztrap’s 2023 EP ‘Different Kind Of Gangster,’ an introspective 7-tracker that put on display the rapper’s ingenuity as well as the endless possibilities of Asakaa. 

More recently, Beeztrap continues to push the boundaries of Asakaa, slightly toning down the subgenre’s typical animation and pairing it with more airy sounds. Singles like “Fly Girl,” with Oseikrom Sikanii and subsequent remix which features Afrofusion singer Gyakie have massively contributed to giving the subgenre a different dynamic, making it a lot more soothing and accessible to a growing fanbase that has extended beyond the streets of Kumasi. While acts like Beeztrap continue to push Asakaa forward, originators like reggie, Kwaku DMC, Jay Bahd and O’Kenneth are also hard at work in keeping the movement alive as they gracefully embrace new faces in the scene while relentlessly creating and releasing music that captures the distinct energy of Kumerica.

Inside The Aftermath Of Ghana’s #StopGalamsey Protests

Posted on by Nana Kojo Mula

In September of 2023, hundreds of Ghanaians took to the streets of Accra to protest bad governance, high cost of living, and other social issues that have made their lives unbearable under the umbrella theme, “#OccupyJulorbiHouse.” The phrase, comprising the Ga words julor (the thief), and bi (the child), Julor-Bi, means “child of a thief.” 

Organized by Democracy Hub (a pressure group in Ghana), the three-day protest began online with social media users calling for the government to fix a range of issues plaguing the country’s people. Between the 21st and the 23rd of September, the protests would move from social media to the streets of Accra. The demonstrations were, however, met with government pushback with hundreds of protestors and journalists being arrested and detained. Following the efforts of several lawyers, all detained protestors were released.

In the 12 months since #OccupyJulorbiHouse, the agitations for a better standard of living have continued, with the government’s unresponsiveness necessitating another major demonstration. As such, Democracy Hub put plans in place to stage a new round of protests from the 21st of September to the 23rd of September 2024. Among the issues that motivated this second wave of demonstrations was the pressing issue of galamsey, which means illegal mining. Galamsey has been in practice for years, and despite promises by the government, including the president, to stop Galamsey, nothing substantial has happened.


This past August, Ghana Water Limited reported on the impact that Galamsey was having on the country’s water supply, causing shortages and leading to various communities around the country having less and less access to clean water. In fact, in 2011, a report by BBC Africa stated that Ghana may have to import water by 20230 if illegal mining is not addressed. Currently, 60% of Ghana’s water bodies have all been polluted.

Designed by Jkhomezi

Days before the protests, the Ghana Police Service issued a communiqué announcing they had secured a court order placing an injunction against the protests. They would later reveal in an updated communique, a meeting with Democracy Hub where new routes for the demonstration were suggested. Despite the communique, the original plans for the protest would be greenlit by organizers who cited a lack of compromise and a rejected proposal to the Ghana Police. 

By the afternoon on the September 21st, hundreds of protestors had gathered at the 37 Roundabout in Accra, with placards voicing their grievances. The low turnout did not deter those present, though, and the event helped put pressure on the government to take action against illegal mining. 

Photos by Ghfixthecountry on X

What began as peaceful soon turned sour when protesters were once again met with heavy police presence and pushback, reminiscent of what happened last year. Tensions rose, and protesters were arrested enmasse and whisked away to various police stations across the capital.

Unlike last year, the protestors who were arrested in this year’s demonstrations were put behind bars with no access to lawyers and quickly slapped with charges including conspiracy and unlawful assembly, causing unlawful damage, offensive conduct to breach of peace, assault on a public officer, and defacement of public notice. They were arraigned before the court without the prior involvement of lawyers who were moving across Accra trying to track the locations of the arrested protestors.

As Multimedia Group journalist Kenneth Darko told me, “A total of 51 people have been arraigned at the Circuit Court in Accra. As of today (26th September 2024), all have been denied bail and remanded into police and prison custody.” The detainees include a pregnant woman, an asthma patient whose family was denied contact even when they reached out with medication. Other detainees include Ama Governor, a lawyer, YouTuber, and activist; and fashion influencer Glenn Sam. All have been remanded until another court hearing on October 8th and 11th, 2024.

The detainees face eight charges, including conspiracy to commit a crime; namely unlawful assembly, unlawful assembly, causing unlawful damage, defacement of public notice, offensive conduct conducive to a breach of the peace, and assault on a public officer.

Protest convenor Oliver Barker-Vormawor faces all the aforementioned charges, along with an additional charge of stealing. Despite the arrests, he praised the coverage of the proceedings as a well-rounded affair, with everyone from traditional media to other digital and social media platforms putting their best forward and staying committed to presenting the facts of the developing story. 

However, as a journalist and a citizen, Darko feels that the charges are unjust. “It has been challenging to separate personal feelings from some developments,” he says. “For instance, the remand of 11 individuals into prison custody seems extreme, especially since the justification stems from inadequate police facilities to house them. Some Ghanaians are questioning why bail wasn’t granted instead of treating detainees, who are still suspects, with such severity. This, among other issues, including the fact that one of the protestors present in court, Felicity Nelson, was not even listed among the accused, according to her lawyer, is quite embarrassing and creates room for further suspicion. The detention of the pregnant woman and the general detention of most of them for over 48 hours (which is unlawful) before arraignment do not speak well of Ghana’s democracy.”

Designed by Forevermartey

In the midst of all this, media outlets like the country’s Daily Guide have painted false narratives of the happenings in their reporting. The arrested protestors have been described as members of Ghana’s opposition party, the National Democratic Congress (NDC). Even worse, a committee from the Youth Wing of the ruling New Patriotic Party (NPP)has shown support for the arrest and called for the prosecution of those arrested while describing them as “hooligans.”

Ibrahim-Anyass “Mo” Muhammed Esq, a lawyer representing the detained protestors, believes that they are not being treated fairly. “I have been in court twice. On the 25th and 26th of September, 2024. My observation of the protestors is that they were not in very good shape,” he says.“Most of them were complaining about the lack of space and the terrible conditions of our cells. That is the general view of cells in Ghana. They are not very conducive places for anyone to be. But there were more pressing concerns about insects, and getting sick without anyone readily assisting them with medication or medical care. I have a client personally who has bemoaned the state of the cell, saying that he suffered an asthmatic attack and still did not get the help he deserves.”

With this year being an election year, Mo explained how the current climate would affect subsequent protests but reaffirmed the rights of Ghanaian citizens to embark on peaceful protests. “The public will be conscious of the process or procedure for embarking on peaceful protests, which the constitution confesses to all citizens of Ghana,” he adds.“This is an election year, so all types of protests or demonstrations will be scrutinized by law enforcement agencies. I think that is why we have seen this level of toughness from the police.

“The police, under the Police Order Act, have the discretion to provide you with the necessary tools – the mode of exercising your protest, the routes to use, and the means to achieve it. The police have sometimes abused the power in the mode of exercising the mode of protesting.” 

Graphic By Morganite 

While the police have provided updates on matters pertaining to the protests, members of the media and citizens on the ground have poked holes in some of their statements. Particularly the arrest of one Benjamin, who was detained by the police as he was delivering essential products to arrested protesters, as reported by journalist, Olele Salvador. Additionally, a video posted by Joynews on X,  shows a family of a detainee being denied access to give drinks and water to the detainee.

 

For many young adults, the current happenings are a show of dictatorship, disregard for human rights, and abuse of power by the government. They feel betrayed by a government that has heavily disappointed them with their lackadaisical running of the country’s affairs, which has brought many to a breaking point.  Seli, a friend of a detainee, shared how angry this whole process makes her feel. “It started off as a very scary thing, how ‘people in power’ decided to handle the protest. A group of old people somewhere suddenly feel threatened by a group of young, educated people. Protests happen every day in this country, but suddenly, it is this caliber of protests they choose to stifle and intimidate protestors. It is very upsetting seeing the way they [the leaders] have been moving, how they are blatantly disregarding human rights and disrespecting the law. Initially, it was scary, but now I am just angry at their audacity, feeling like they can get away with this. A friend of mine being a detainee was hard to come to terms with, but my friends have come together to create a community where we can cheer and console each other and be there for our friend.”

Mo asserts the need for trust between all parties and the system. “There is general distrust among citizens of the country and the hard lining in what happens to be partisanship treatment of the demonstration, where some people believe the protestors are agents of the opposition and the government does not believe there is genuine concern for the demonstration,” he explains.

“The protestors need to also express their frustration because the issue of galamsey is a national concern, and they feel they need to awaken the government. The effects of galamsey affect our lives as Ghanaians. I still believe protestors need to be treated fairly. The moment someone protests, it means there is a concern to be addressed. Any government should lend an ear to protestors and address them in due time but not immediately stampede with all the force of the state. We need a level of trust within the judiciary, the executive (police), and the citizenry.”

Seli also believes politicians need to understand their role in governance. “My perception of the government has not changed. I never thought they were good people. There is this misconception that ‘people in power’ are powerful, that they’re masters, but what they fail to remember is that they are servants, public servants. They are supposed to serve the people, and this has just reminded me of how much of a dissonance there is between what their actual job is and what they think their jobs are. This has proven to me that they are really committed to destroying and tearing this country apart just to fill their pocket.”

Across social media, people are calling out organizations, celebrities, and anyone of influence to draw attention to what is happening in Ghana. The push for the release of those arrested under the #FreeTheCitizens campaign on social media is quickly attracting attention, with another protest taking place from October 3rd to 5th to demand the release of the arrested protestors. With most of the detainees still awaiting their day in court, it’s left to be seen what the full ramifications of these arrests will be.

The issue of Galamsey should be treated as a national emergency and not peddled as political party disputes. The stance of the police and judiciary in handling this case sets a bad precedent that undermines the rights of the people and tenets of the constitution, which states the protocols that should be adhered to when it comes to issues like this. Sections of the youth, despite state pushback, remain committed to not only pushing for the freedom of the detained protestors but also a ban on Galamsey, among other pressing issues affecting the state of the country. 

Identify: PDSTRN’s Path To Hip-Hop Glory

Posted on by Boluwatife Adeyemi

In June 2022, PDSTRN, born Bennett Obeya, captivated rap fans around the country with his performance in the eighth season of the Hennessy Artistry VS class. The Lagos-based rapper worked his way through the fiercely-contested competition, impressing judges M.I, Ladipoe and Vector at each round and eventually defeating underground rap phenom BarelyAnyHook in the finals. 

“In the underground scene, BarelyAnyHook at the time was someone you wanted to get on your song. To be honest I never thought I was going to win,” PDSTRN tells me of his triumph one afternoon in late August. He seemingly had it all – witty wordplay and punchlines, a menacing flow and most importantly, personality – but just about a year before his rise to the top of the 2022 VS class, the rapper had choked in the first round of the same competition, and vowed never to return. 

Born in Ojodu Berger, a bustling suburb that sits between Lagos and Ogun state, PDSTRN didn’t always harbor dreams of being a rapper. A nomadic childhood which saw the rapper shuffle between Lagos and Toronto meant he didn’t really fit in with his peers and he also didn’t settle on a career path as early as other kids did. His dad, a retired boxer and avid sports fan, initially wanted a career in sports for him as well but he remembers his mum not buying into the idea. “When my dad saw I had some interest in football as a kid, he wanted me to go to a football academy but my mum wasn’t having that. She wanted me to go to school and get a formal education,” he recalls fondly. 

 

 

 

 

 

 

It was during his time in school in Toronto – the 7th grade – that PDSTRN finally found rap and began to nurture aspirations of being a rapper himself. Even though he grew up listening to a lot of music thanks to his grandmother, his mum and her younger sister, rap was largely absent from his early childhood. “My grandma used to play music from artists like Tope Alabi, Baba Ara, Shola Allyson while my mum’s younger sister used to play stuff from acts like Faze, Artquake, and Dr Sid. My mum, when she was around, would play stuff from Brick & Lace, Enrique Iglesias, Shakira, Spice Girls, and a shit ton of Bollywood,” he tells me of his early musical influences. 

Nas’ ‘Godson,’ however, represented PDSTRN’s gateway to rap music. After he got introduced to the legendary American rapper’s sixth studio album by some friends in school, he went down a rabbit hole of rap history, acquainting himself with seminal albums and discovering artists that have since helped shape his own artistry, and have also remained prominent sources of inspiration. “After discovering Nas, I started to find other rappers,” he recalls. “I began to listen to a lot of Cudi, Eminem, Goldlink and a couple of other rappers.”

 

After his introduction to rap, PDSTRN began to write his own bars and freestyle for an audience of mostly friends. “One day I tried rapping in front of a couple friends and they thought I did okay but one guy goes: ‘Nah bro that was pedestrian.’ I didn’t even know what the word meant in that context so I went home, looked up the word and then decided I was going to choose that as a stage name,” he tells me of his early freestyling days. In 2018, he moved back to Lagos from Toronto and after months of sharpening his rap skills, and signed up for that year’s Hennessy VS class. Unfortunately, he was not accepted on his first try and decided to try again the following year where he got knocked out in the radio rounds of the competition. 

He tried for a third time in 2021, this time far more confident and armed with even more sharp bars and punchlines, but he couldn’t make it past the first round again after choking on stage. “I remember going into the restroom and just bawling my eyes out because I knew there was nobody there that I couldn’t beat with what I had,” he says, recounting the unsettling experience. After a fruitful conversation with rap legend M.I led to him seek professional help for his stage anxiety, he returned in 2022 and prevailed in swaggering fashion. 

 

 

Since his victory at the 8th edition of the competition, PDSTRN has slowly but surely established himself as both a competent rapper and a well-rounded act with a desire to constantly expand the scope of his music. “The Prologue,” a two-pack single which came a few weeks after his Hennessy triumph, put on display the sort of sharp punchlines and fiery energy that helped him come out on top in the 2022 VS class, as well as his eclectic taste and influence. This desire to be a musical omnivore of some sort has helped foster collaborations with like-minded acts like Sholz, one half of NATIVE Sound System, who he is set to release a collaboration tape with. 

“Shoutout to Temi, [Discovery Deck founder]. At the time she was still at Discovery Deck and I used to send her a couple of my songs and she would give me some feedback. One day she just hit me up and tells me Sholz is working on something and she gives me an address to go meet him in an apartment,” he tells me, explaining how his relationship with Sholz started. The two hit it off fairly quickly and worked on a couple of songs together, one of which ended up on Sholz’s 2023 EP ‘Breakfast In Lagos.’ A few months after their first encounter, Sholz reached out to the rapper to work on something more elaborate. The two began ideating about the project in October 2023 and about eight months later, ‘ROCK, PAPER, SCISSORS’ was officially complete.

PDSTRN speaks of the forthcoming tape highly. He also relishes the opportunity to have worked on a project with Sholz, the talented producer and DJ who he describes as very meticulous. “From the sequencing, to the recording, to skits, even down to the sound of my chains. I learnt from him that these really minute and intricate details can be very important to the development of an entire project.”

 

“Idan,” the lead single off the project, gave a teaser of what’s to come, once again showcasing PDSTRN’s dynamism and lyrical prowess, both of which is nicely underscored by Sholz’s infectious drums. 

And while ‘ROCK, PAPER, SCISSORS’ promises to provide refreshing and distinctive music from two incredibly gifted acts, for PDSTRN, the ultimate goal with this project and his music in general is mental emancipation. “Whether I’m talking about women, money, whatever it is, the goal is always to present my actual reality. Art needs to be angry, it needs to be provoking. I believe art is an instrument for social change and so whatever form of art you’re doing, I believe it has to provoke people in some way. That’s how I want people to take my music.”

NATIVEMag Presents: NATIVE Horror Stories

Posted on by The Native

African history and culture are steeped in oral traditions and storytelling, but as tales are passed down through generations, their details often evolve. The transmission of these stories over centuries has led to variations—embellishments have been added, details have been lost, and regional differences have emerged. As Halloween approaches, we thought it’d be a great opportunity to re-enact some of these timeless tales. 

The NATIVE invites you to participate in our horror short story competition, NATIVE Horror Stories! We want to hear your most terrifying ideas, inspired by the rich and diverse heritage of Nigerian myths, tales, legends, traditions and more. We challenge writers to engage in research-driven exploration of these folklores and traditions, unearthing lesser-known details, interpreting the historical contexts, and crafting fresh narratives that infuse horror into these timeless tales we’ve been told all our lives.  

JUDGING

Final selections will be made by Nigerian fiction writer, Eloghosa Osunde.

Eloghosa Osunde is a multidisciplinary artist. Author of critically acclaimed Vagabonds! (2022) and Necessary Fiction (forthcoming 2025), they are the winner of MoAD’s African Literary Award 2023), the Plimpton Prize for Fiction (2021) and an ASME Award for Fiction (2022). Their debut novel was widely lauded: a New Yorker Best Book of The Year, a New York Times Editors Choice, a NoName Book Club Pick, a finalist for a host of notable awards; and their work has been published by Paris Review, Granta, Georgia Review, Atmos, Lonely Planet, Best American Short Stories among others.

Make your submissions here.

Featured Image Credits/[The NATIVE]

 

Meet Internet Girl, The South African Band Breaking All The Rules

internet girl (2)

Meet Internet Girl, The South African Band Breaking All The Rules

Ahead of the release of the video for “PULL UP” The NATIVE speaks to the trio about their career and the process of putting  ‘ROLE MODEL’  together.

Written by Wale Oloworekende – 3.Oct.2024



For the better part of the last decade, popular music from South Africa has undergone a seismic transformation. Amapiano, the generational, almost spiritual variant of Dance music that was born in the country’s townships,  has gone on to dominate dancefloors both at home and abroad. Crowning stars such as DJ Maphorisa, DBN Gogo and Uncle Waffles, Amapiano’s dominance has led to a marginalisation of other genres in the mainstream conversation, with radio and show promoters casting aside acts that don’t incorporate the now inescapable log drum. 

 

Just over a decade ago, a similar shift was occurring in Nigeria. As Afro-Pop rose to prominence, led by stars like Davido, Wizkid and Tiwa Savage, any artists not conforming to the sound of the day were alienated by the gate-keepers and industry tastemakers. What happened next was a cultural phenomenon known as the Alte movement,  with artists and the communities that surrounded them – directors, producers, stylists – bucking against the machine, and making the music they felt like making. This movement propelled the likes of Burna Boy, Tems, Odunsi The Engine, Cruel Santino and more, as they started speaking directly to their fans, realising there was indeed a space for alternative music in West Africa. 

 

Enter: Internet Girl, the three-piece South African band attempting to do the same, by breaking all the rules. Fusing Punk-Rock with Alternative Pop and an undeniable Hip-hop influence, the trio possess a distinct sensibility to deliver music and visuals  that at once feel fresh and alternative; but somehow viscerally familiar. But it’s been a long road to this point. “It was very hard initially,” Matthew “Neese” Burgess, Internet Girl’s drummer and producer tells me via Zoom. “We were not focused on South Africa because we were like, ‘We don’t care about the African territory, we’ll just make music for the US because no one is going to fuck with us on this side.’ [So] we were doing that for a while, we weren’t playing shows or getting booked for shows but we were streaming well. Since last year, we’ve had a rethink and now know that we can manoeuvre these things so people in South Africa and Africa can fuck with us in terms of the swag that we bring and our image online. If you bring a sense of Hip-hop into your brand, people will like it even if you’re making guitar music. That’s what we’ve done and it’s easier to get booked for shows. We know where we fit in the scene a little better. We do care about our local territories and we appreciate everyone that fucks with us.”

 

 

The band is made up of Burgess, lead vocalist Ntstika “TK” Bungane,  and guitarist/producer Griggs, who Bungane and Burgess met in 2019 after they found videos of him playing their songs online. As Internet Girl, the trio has released a wide range of projects exploring everything from the dark hole of melancholia to the zonked out escapism of indulging in narcotics. And after years of living in separate cities and figuring out their process, their 2024 project, ‘ROLE MODEL,’ finally saw them deliver a body of work that bears all the hallmarks of the grandeur and candour that Internet Girl aims for.  A deluxe version of ‘ROLE MODEL’ houses “PULL UP (WHERE THE MUD BE),” their biggest song yet, that came about after Burgess flipped a melody he’d heard in a TikTok ad. 

 

Alongside an exclusive premiere of the Royd-directed video for “PULL UP (WHERE THE MUD BE),” The NATIVE spoke to the trio about their career and the process of putting  ‘ROLE MODEL’  together.

TK

Where did the name of the band come from?

 

TK: At a point, Matt and I were in a previous group and we just needed to change the name and everything. We were sitting somewhere and he was like, “Something like an e-girl or an internet girl,” and we just went with it. 

 

Griggs: That’s the least interesting thing about the band because it doesn’t mean anything. It’s just a cool name. There’s no meaning behind it.  

 

How did you all meet?

 

Neese: TK and I met in primary school. We’ve been homies since grade five. We were 10-year-olds so that’s about 15 years now.  We’ve been homies for most of our lives and we were making music in high school. We met James over Instagram in 2019: he posted guitar videos of him playing our music and we liked it. He flew down from Cape Town to Jo’burg because TK and I were living in Jo’burg at the time. We just got to know each other and made music together. It worked out and he joined the band. 

 

How has the dynamic been moving from being a duo to being a trio?

 

TK: It’s not been a big shift because with James, from the moment I met him, it felt like I’ve known him for a while. He has a cool temperament and likes the same music as us so it was quite easy to form a group and add him. With regards to responsibilities, they’re both producers and [they’ve taken] that role with the production we’ve had in the past. Now, we’ve all developed our skills differently and started taking on different responsibilities and roles. 

 

Neese: We all have our different roles but it’s kind of naturally just evolved based on our different skills and what we’re good at. Everyone contributes to different things but it works out well and we’re all happy with the dynamic we have now. 

 

The music you make has evolved from a heavy Trap influence to more Indie-Pop and Punk. What motivated that evolution?

 

Neese: I think we’ve learned to combine genres because we’ve been fans of different genres at different points in our lives. TK and I used to make a lot of Hip-hop and Trap stuff then we used to make a lot of Indie-Pop stuff because that’s the music we were listening to at that point. I used to listen to a lot of Electronic music back in the day and that’s how I started making music. As time has gone by, we’ve figured out a good way to combine all these things and it’s created a unique sound. 

 

Griggs: If I have to think back to when we started the band, what we all brought in was very different and, after five years, we’ve all become so much better at different things. We are all capable of doing everything because you’re spending your time with everyone and your general music-making ability is all-encompassing rather than just doing one thing. For example, when we’re in the room together, everyone contributes to every piece and it’s fun. 

 

TK: With regards to the different genres, it’s always a reflection of what we’re listening to at the time. Our tastes change and that comes out in the music. 

 

What was the process of making ‘Parasocial Interaction?’

 

Neese:  ‘Parasocial Interaction’ is the EP before ‘ROLE MODEL.’ That EP is kind of a collection of singles similar to ‘The World I Love’ before it. We didn’t sit down and say, “We’d make an EP that sounds this way.” We were at a weird point in our career where we were living in different cities and weren’t spending a lot of time in the studio together. It was a true parasocial interaction. That whole project happened over the internet because we weren’t playing shows or doing anything. We were sending each other stems back and forth to do the songs and, I think, that was the inspiration behind it but I wouldn’t say the music is very thematic in that sense. 

 

Griggs: I think ‘ROLE MODEL’ is our first piece of music that’s so cohesive because, after this much time in a band, we finally felt like it was the best representation of a conceptualised project representing what Internet Girl is about.

Neese

How did you approach making ‘ROLE MODEL’ ?

 

TK: ‘ROLE MODEL’ started towards the end of our ‘Parasocial Interaction’ era. We call it the Internet Girl flop era because we weren’t doing much together and we decided to make sure the next project was done properly. We left too many loose [ends] and weren’t intricate on ‘Parasocial Interaction.’ We wanted to go in on ‘ROLE MODEL’ and I think we did a good job. 

 

What was the best thing about working on ‘ROLE MODEL’ together?

 

Neese: I think the best part was the experience of making it. We learned how to work in studios together properly whereas a lot of our music before then was done individually even when we lived together. I would work on music in my room, James would work on music in his room and TK would write in his room. Then we’d come together later to put it all together but, with this one, we just learned how to sit in a room together and make it all work.

 

Griggs: I had a lot of fun working on the project. It was one of the most fun times I’ve had because I was just spending time with the boys and working on music. We’re all like best friends and making music is just what we do together. 

 

TK: I think with the previous projects there was a little bit of doubt in terms of what sounds to do. With this one, we were sure it was the right direction to go in and we just did it. I was also a little bit more involved in the production process and just contributed more to how everything sounded. 

 

TK said that he got involved with production a lot more on ‘ROLE MODEL.’ What was the approach to making the songs, was it instrumental first and then writing or was it the reverse?

 

TK: The first song I did was the song, “ROLE MODEL.” I had just returned from work and I was pissed off so I needed to get it out. I didn’t have the boys with me but I needed to make the song so I had to work on it. I got home and started working on the guitar and playing around with the drum loop on FL. I made the most terrible drum sounds just to get the rhythm and I put it all together. The next day, I was pissed again so I wrote on it and sent it to the boys. So for me, the idea often came first before the actual production took place. 

 

Griggs: It was half-half. “EVERY MAN FOR HIMSELF,” “ROLE MODEL,” and “COKEHEAD” started as rough guitar ideas and vocals that were then produced but instrumentals were premade for the rest of the songs on the project before TK wrote on them. I think it’s also fun to have these different approaches to it because it shows we can come together and make music in many ways. 

 

TK: I think you can also hear the difference between those tracks even though they are on the same tape, they kind of exist in two different sections. 

 

You also live in South Africa, which is having a huge global moment with Amapiano right now. How have you navigated making music that falls outside of that?

 

Neese: It was very hard initially. We were not focused on South Africa because we were like, “We don’t care about the African territory, we’ll just make music for the US because no one is going to fuck with us on this side.” [So] we were doing that for a while, we weren’t playing shows or getting booked for shows but we were streaming well. Since last year, we’ve had a rethink and now know that we can manoeuvre these things so people in South Africa and Africa can fuck with us in terms of the swag that we bring and our image online. If you bring a sense of Hip-hop into your brand, people will like it even if you’re making guitar music. If you have a Hip-hop swag, dress well, are cool online and have that influence in your music as well, people will like it. That’s what we’ve done and it’s easier to get booked for shows. We know where we fit in the scene a little better. We do care about our local territories and we appreciate everyone that fucks with us. 

 

Griggs: There are aspects of what we do that are novel but there are also parts of what we do that are familiar to people and it makes it palatable to them. There’s something about it that’s not only not been seen but also not heard before. We also want to show the world that alternative music can come out of South Africa and the greater African region that’s not Amapiano or Dance music. 

 

TK: People didn’t know what to expect or what to do. They used to be like, “Who are these people, two white dudes and a Black guy?” Now it’s cool. When we go to shows now, people know the lyrics and show love. Getting that love is very satisfying.

Giggs

How was “PULL UP (WHERE THE MUD BE)” conceived?

 

TK: “PULL UP” started with Matt. Matt saw a TikTok for an ad by a brand that had a melody. He made a flip of the melody and posted it on TikTok. He didn’t tell anyone but it started blowing up more than any of our other TikToks. People loved the beat. I was already writing some songs with the guitar to finish off ‘Role Model.’ I had just broken up with my girlfriend and I had stuff to say. I pulled up to Matt’s crib to write and he told me that he needed me to write to the instrumental of “PULL UP.” I wrote to it and he was like, “It is fire, we need to drop it.” Even the label wasn’t too sure because it’d fuck up their release plan but Matt insisted that we needed to drop it. We posted a new version of the song with vocals on and that started blowing up too. We did a TikTok saying we’d drop the song if we got 10,000 comments and people started getting pissed and asking why we were gatekeeping the song. I had no idea it would go crazy like it has but it ended up changing our lives. 

 

Do you think that experience has changed your approach to making music?

 

TK: It has given us more confidence in terms of going into the studio and knowing that people fuck with our music. I feel like the perception has changed and people think we’re dope so they’re more open to accepting what we’re putting out which just gives you more confidence. 

 

Neese: Also, I think it’s helped us understand that you can’t be too rigid with your release schedule. You can have a schedule for sure but you need to be flexible otherwise you’ll shoot yourself in the foot. 

 

Griggs: There was no spend. We had spent all our budget on the  ‘ROLE MODEL’  project so all the promo on TikTok and creating the cover art was done in-house by us but it has done better than every song that we put time into and that speaks to the power of social media and branding stuff well. 

 

Finally, the video for “PULL UP (WHERE THE MUD BE)” is here. What was the idea for the video?

 

Neese: We worked with our homie, Royd, on that video. He’s done all our video stuff and we just gave it to him. He was like, “I want to do a black and white video and I want it to be super shiny because the song just has a black and white feeling.” We just trusted him and showed up on the day. Usually, we’re very involved in the process but we just decided to trust him because we were very busy. We pulled up on the day and it was so sick. Maglera Doe Boy was there and it was dope. We’d met Maglera before but it was cool to see him in that environment and watch him perform for the camera. 

 

Griggs: Royd has known Matt and TK for ages so it’s like we’ve built this world visually and sonically with a core group that understands our vision. There are not too many chefs in the kitchen. He’s our guy and we’ve worked with him for so long that he understands us and can pull off something crazy. The video turned out great and we’re so stoked.

uNder: Best New Artists (September 2024)

Posted on by The Native

In a music  music landscape where the underground is often overshadowed by the mainstream, and niche artists find their influence dwarfed by far-reaching big-label budgets, uNder stands as the heartbeat of discovery and the pulse for those searching for something raw, authentic, and unapologetically different. It’s more than just a platform – it’s a movement that’s elevating voices; curating and spotlighting artists who embody the raw and untapped essence of their scene.

This month’s uNder highlights Yamiko, Øbed, Young Lunya, and Ema Onigah, who represent the heart and soul of their respective scenes. Each of them unafraid to put their unique spin on local contemporary music, this crop of artists are not only reshaping the underground scene, they are proving that their time in the spotlight is inevitable.

Yamiko’s voice is pure emotion, wrapping listeners in the raw, soul-stirring energy of RnB, while Øbed,  a rising radical force from Ghana, comes through unafraid to challenge norms and push boundaries with his unapologetic approach to music. In Uganda, Young Lunya’s sharp flow and storytelling prowess make him one of the most exciting new rappers to watch, blending tradition and innovation with ease. From Nigeria, Ema Onigah is blending the old and the new, and creating a sound that’s unmistakably his own.

 

Yamiko

For Fans of: Tems, Konyikeh & Rowlene

Combing through Yamiko’s discography, it was difficult to shake the SZA vibes coursing through her releases, so it didn’t come as a surprise when Apple Music recommended “Kill Bill” as the warm synths of Yamiko’s “Blest” closed out. Unlike the American superstar, who many believe makes music that feels too vulnerable – bordering on self-depreciating – Yamiko’s messaging rests easily on the ears. On her biggest track yet, “Blest,” airy, soothing vocals hold the weight of her optimism as she chooses intentionally to focus on the positives for her peace of mind. “See I could focus on everything that’s going wrong and put it in a song/ And I’d relive all of those things, this time I sing along and act surprise when they actually manifest,” Yamiko hums over low drum vibrations and light cymbal taps, reiterating the importance of breaking the cycle of recollecting regrets. 

From her 2020 debut, “Healing” to her recently released EP, ‘Rear View Mirror,’ the Cape-town born artist is coasting the lines of R&B with a trained confidence usually associated with far more seasoned artists. Her heart-warming renditions and soothing melodies, characterised by notes of utmost conviction still possess an admirably childlike curiosity and deep yearning. On “Curious,” Yamiko’s lush vocals fall over the backdrop of more Pop-inclined drum patterns, creating a groovy atmosphere for her to explore new romantic connections. “Deep Innit,” assisted by Surreal Sessions, adopted a slow Dance soundscape which later picks up along the hook with unexpected log-drum elements. Despite the track’s reverberating bass, Yamiko’s vocals stay faint and warm, drawing attention back to the cool tones of the tune.  

In a scene ridden with upbeat chants over high-tempo instrumentals, slowed-down R&B melodies always serve as the perfect cleanser, drawing our attention back to the quieter moments that allow us the opportunity to address largely shunned emotions. – N.I

 

Young Lunya

For fans of: Khaligraph Jones, Buruklyn Boyz, and A-Reece

Young Lunya raps with the certitude of someone that has a lot to say and knows exactly how he wants to say it. Born and raised in Tanzania, his methods and messages have evolved across a career that has seen him morph into one of the most well-regarded acts in East Africa. All this while maintaining his Hip-hop credentials thanks to a plethora of hard-hitting tracks that distil his thoughts of life in Tanzania and his zest for hedonistic thrills into potent missives. Young Lunya first started his career as part of the rap trio, OMG Tanzania, working alongside acts like Salmin Swaggz and Con Boi on explosive cuts like “Kimbia” and “Swing” as well as more sung-rap melds like the Jolie-featuring “Paradiso” and “Sitaki.”

He launched his debut career in 2019 with the release of “Wanene Studio Session” in 2022, spitting rapid-fire bars about his quest to get money and live his best life regardless of what’s happening around him. It’s a tact that he has returned to several times in recent years, using freestyle sessions to get things off his chest while building a solid catalogue. He won the Hip-Hop Male Artist of the Year and Best Hip-Hop Song at the Tanzania Music Awards in 2022 and then, later that year, signed a deal with Sony Music Entertainment Africa, becoming the first Tanzanian rapper to ink a deal with the label. His debut single, for the label “Vitu Vingi,” soon followed, showing his dexterity with Swahili and thrilling fans in the language. 

In 2023, he collaborated with Kenyan rapper, Khaligraph Jones, on the vociferous rap anthem, “Stupid,” as they flexed their lyrical prowess and pronounced themselves the top dogs in Eastern African Hip-hop. Lunya’s 2024 single, “Mbwa mwitu,” showed a more melodic edge to his style as he experimented with trap influences on the lead single for his debut album, ‘Mbuzi.’ Part statement of intent and part coming-of-age story, ‘Mbuzi’ holds the sum of Lunya’s thoughts on family, his career breakthrough, and love, with contributions from colleagues like Abigail Chams, Marioo, and Micky Singer. It’s a cogent and necessary introduction to one of East Africa’s most compelling voices. – W.O

 

Ema Onigah

For fans of: Kaestyle, Azanti, TAR1Q

The most obvious thing that first sticks out about Ema Onigah’s music is his kinetic flows. The Cross River native uses his silvery vocals like a percussive instrument, raining down syllables on beats like a skilled instrumentalist. On “Ave Maria,” his latest single, the Lagos-based singer quips about his endearing love interest, using sharp, fluid, and intricate rhymes to paint an intimate imagery about a certain Maria. Similarly on his debut single “Net Worth,” Onigah attacks Ozedikus’ groovy beat in the opening seconds with a quick-tongued rhyme delivery that would give most rappers a run for their money. While this peculiar ability has become Onigah’s calling card, there’s much more to his music. 

It’s no surprise that Onigah developed a dynamic and intricate flow. The building blocks of the singer’s career were laid in his local church in Lagos where he served as a drummer for an extended period. This helped him develop a profound understanding of flows and rhythms as well as the framework of his distinctive approach to Afropop. After cutting his musical teeth in church and further fine-tuning his craft, he released “Net Worth” in 2020 and followed up two years later with “Playful Someone” alongside frequent collaborator Ozedikus. 

“Playful Someone” once again showcased Onigah’s motor-mouthed flows, but more importantly it also highlighted Onigah’s songwriting chops as well as his ability to conjure incredibly sticky melodies. These abilities were put on full display on 2023’s ‘DUST OFF,’ a 6-track EP that married rich production – courtesy of him, Ozedikus and Tuzi – with some inventive songwriting. Cuts like “SIDE MIRROR,” the evocative “FOR BOYS” and his biggest solo single to date “DEY SO,” earmarked Onigah as a promising and imaginative musician who looks to offer something different from the saturated run-of-the-mill Afropop that’s being churned out. – B.A

 

Øbed

For fans of:  Mannywellz, Tems & July Drama

Øbed, a rising star in Accra’s music scene, is captivating audiences with innovative sound and versatile artistry. Selected as Spotify #FreshFinds Africa in July 2024,. his music blends Alternative Jazz, Soul, and Afro influences, creating unique hits that stand the test of time. Øbed, who describes his music as “euphoric and uplifting,” is also the co-founder of “Superjazzclub Collective” a group he started with friends and collaborators Seyyoh, Ansah Live, BiQo, and Tano Jackson., together explore different elements in the music under the guise of the Jazz genre.

His debut single “Sober,” was  released in 2018 in  a collaboration with peers from Superjazzclub. On it, he produced a sound marked by Afro-percussive elements and soulful synths. His ability to craft an engaging listening experience makes him a stand-out artist for his talent in Ghana’s Alternative music scene.

Øbed’s journey is strongly rooted in his upbringing, learning the piano from his father at the age of six, and growing up around music in church, where his skills expanded in keyboard and guitar. He began experimenting with music producing after being inspired by Jon Bellion, and has produced for numerous projects including Amaarae’s “Spend Some Time.” and Cruel Santino’s “Cincinnati Pumpin!!”

Øbed’s music is distinctive for its emotive energy, blending old Soul, Funk, and Jazz with modern production. He wants his listeners to have feelings of ecstasy, melancholy, and euphoria when listening, and continues to experiment with new sounds and genres to create timeless music that speaks to both the past and the future and aims to bring Ghanaian artistry to the global stage. – N.S

An exclusive rare look into the 1970s Nigerian Pop Music Scene

Posted on by Wale Oloworekende

Holding in partnership with The NATIVE, NTS, and Numero Group amongst others, each event will feature screenings of ‘Konkombe: The Nigerian Pop Music Scene (1979),’ from the Cannes award-winning, 14-part musical docuseries ‘Beats of The Heart.’ Beaming in on one of the most innovative periods of Nigerian music, ‘Konkombe: The Nigerian Pop Music Scene’ narrates how native styles like juju, Afrobeat and highlife all evolved in step with the country’s social, political and spiritual currents and created iconic stars like Sonny Okosun, Fela Anikulapo-Kuti, The Oriental Brother, and the Lijadu Sisters.

Speaking of  working on ‘Konkombe,’  Yeye Taiwo, one half of the Lijadu Sisters, remembers it as a “beautiful” experience. “When they came, my daughter was about 8 months old, and they watched us rehearse in this house you see in the film,” she says. “The house had two floors, and we would care for my daughter upstairs, and rehearse with the musicians downstairs. And so all day, they would see myself or my sister, just walking up and down the stairs… back and forth, back and forth, all day long… holding my daughter. But when we were upstairs, we kept singing and rehearsing, as if we were in the same room.

“I would be coming downstairs holding the baby, and still singing the song with the band, and everyone would be like, “Wait. what, are you still singing the song with us?!”, and laughed. I kept the beat with the band, and kept singing along with my sister although we were on different floors.”

Diana Marre, the wife of the series’ filmmaker Jeremy Marre, remembers the sisters as a beacon of the fight for women’s justice. “Beside being struck immediately by their beauty, the outstanding memory of them is their determination to fight for women,” she says. “Women were not to be relegated to the background of Nigerian society. Whilst they were well aware of the glamorous image they projected on record covers and publicity material, they talked bitterly about the record companies.”

Widely remembered for their forward-thinking music that blended elements of rock, afrobeats, funk disco and soul, the Lijadu Sisters are an integral part of Nigeria’s music history as well as innovators in their own right.

Inspired by the month-long, globally-influential Festac ‘77 festival, ‘Konkombe’ captures the courageous Lijadu Sisters at the center of the wider Nigerian musical movement of the ‘70s alongside contemporaries like Benjamin “Kokoro” Aderounmu, King Sunny Adé, I.K. Dairo, and the Sisters’ second cousin Fela Aníkúlápó Kuti, before they moved to the US as political refugees.

Timed around their birthday on October 22nd, the upcoming events will include a conversation with surviving sister Yeye Taiwo Lijadu, who recently dove deep into the duo’s legendary career, legacy and resurgence in a conversation with The New York Times.

Out this Friday, September 20th, the remastered edition of 1979’s ‘Horizon Unlimited’ marks Numero Group’s inaugural LP/CD release with The Lijadu Sisters, restored in the higher fidelity than ever before, and presenting hits like “Come On Home” like they have never been heard.

The package also includes the first-ever transcription of the record’s lyrics in both Yoruba and English, corrected album credits and original artwork. In addition to this, a redesigned music video for opening track “Orere Elejigbo” is out today.

Featured Image Credits/ The NATIVE.

Rema In His Cave

Posted on by Wale Oloworekende

There is a bar called Under The Tree just a short walk from Benin’s Samuel Ogbemudia Stadium and, 24 hours before the Rema Homecoming, locals are chatting excitedly about what a concert like this represents for the city and its residents. The city has a distinct energy as it welcomes guests far and wide, saying, “We are glad to have you here with us for a Benin party.”

At odds with the sticky heat of Lagos, there is still torrential rainfall in Benin. It rains heavily for much of the day of Rema’s homecoming concert. Still, the rains start to let up around 6 p.m., becoming a playful drizzle just in time for the show to begin as workers and security operatives start to sort entry into the stadium. Inside the stadium, the floodlights splash on the stage and the bleachers as people come in ready to have an evening of fun and celebration. In little to no time, we have a full venue packed to the rafters while other enthusiastic fans stay outside the stadium to catch a glimpse of their favourite stars. 

It’s time for Rema’s big homecoming. 

The Samuel Ogbemudia Stadium in Benin is a unique kind of monument of the city’s culture. It doesn’t have the regal grace of the Oba’s Palace which is about 13 minutes away, or the earthy spectacle of the Benin Moat that once encircled ancient Benin; but make no mistake, the Samuel Ogbemudia Stadium is a heaving, breathing wonder in its own right. The 39-year-old stadium deals exclusively in hope and dreams, rising out of Stadium Road as a symbol of the dogged resilience of Benin people, while housing the memories of their sporting history – both triumphs and bruising losses. On the night of Friday, August 30th 2024, the stadium was fulfilling another role: playing host to one of Benin – and Edo State’s – most illustrious sons, Rema. 

Anyone who has followed Rema’s career since his activation a little over five years ago can easily see the importance of Benin to the Mavin star. His avatar, a bat, is inspired by the winged creatures that decorate Benin’s skyline at night; there is lore inspired by his Bini heritage stitched into various parts of his oeuvre; and as he has taken his music across the world, he has unapologetically brought the history, stories, and struggles of his people to a wider audience. Last year, at his Ravage Uprising concert in London, Rema came on stage in costume that referenced Benin war regalia while donning a mask that paid tribute to the iconic Queen Idia. 

There is something compelling about the narrative of a young boy–fresh at the gate of superstardom–desperately holding on to where he is from on the global stage when there’s the temptation to cleave to a more Western-influenced identity in the wake of unprecedented material success. It is nigh-on bravery to cling to your city and love it for what it is when your come-up coincides with a barren run for the city creatively, even if it is the hometown of the peerless Sir Victor Uwaifo or the rainmaker, Majek Fashek. With Rema, you get the sense that it was Benin or nothing. There was no alternative plan to anchor his identity anywhere but home. You see it in the reverence he has for his Benin, the Oba, and the mischievous energy that animates his hometown. 

For years, Rema has been hinting about returning home to reconnect with his people after years of pushing his music to a global audience. From Lagos to New Delhi to Paris and Berlin, he has felt the love of fans enamoured by his art and the melodies he spends hours working on. Back home, though, it hits different: The people love Rema because he’s Divine Ikubor. They love him because he speaks with the distinct twang that Benin residents speak with: a little forceful at the beginning to establish that they are indeed serious,and then dragged out near the end to show a more sentimental side. Benin people love Rema because he is of them and they can imagine having walked past him all those years ago on Ekehuan Road. It’s the sort of love that money could never buy; it runs deep because it is publicly proclaimed and mutually affirmed. 

The truth of the matter is that Benin, too, has been waiting on Rema for years. He’s the local boy done good who still retains ties to where he is from and, this year especially, in the midst of a serious economic and cost of living crisis, the city desperately needed something to cheer. The people needed their hero to come and give them a spectacle for the ages. Something to hold on to, a memory to cherish longer after the night has passed. 

 

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The opening section of the show is dedicated to supporting Indigenous Benin acts as they take turns to thrill the packed stadium and introduce themselves to a wider audience. Light projectiles are launched on stage as the crowd bays for Rema but they have to wait through promotional performances and talent shows from corporate sponsors. When the time comes for him to perform, a black curtain on stage drops to reveal him emerging on stage from a bat cave, sending the stadium into a shrilling frenzy. The first song performed is “MARCH AM,” the opening track on his recently-released sophomore album, ‘Heis.’ Released in July, ‘Heis’ is a wonder of minimalism and energy; there is not a second wasted or note that sounds errant – it all works in service of Rema’s grand vision to bring Afrobeats into life. 

A lot has been said about how Rema took the road less travelled and made an album for his primary audience despite the bright lights of global commercial success calling to him. But there is also, perhaps, something to be said about ‘Heis’ being the soundtrack to a homecoming. There is a sense of organised mayhem in how the stadium responds to the music – hands in the hair and legs thumping so hard to the beat drop of “MARCH AM” in a way  I imagine they probably wouldn’t do to a song like “Addicted,” for all its charm and qualities. It’s the same response that a lot of old Rema classics get: the audience serves as orchestral backing for him as he leads them in a soul-infused rendition of “Holiday” and the ladies cheer loudly when he performs a spirited version of “Soundgasm” and “Woman.”

There are several interludes in Rema’s show as his Mavin colleagues Magixx, Ladipoe, and Crayon take turns performing before the crowd gets treated to a special performance of “Dorobucci” by Don Jazzy. At each interval, Rema would return to his cave, returning with a new look and new zest to perform. NATIVE Records signee, Odumodublvck, joined Rema on stage for an intense performance of their song, “WAR MACHINE,” before bowing out with a medley of “JUJU” and “Blood On The Dancefloor.” 

The biggest cheer of the night is saved for when Shallipopi joins Rema on stage for the performance of “BENIN BOYS,” their ode to their hometown that is sung word for word by the stadium, making for an electric atmosphere. Before launching into his solo performance of songs like “Elon Musk,” “Obapluto,” and “Ex Convict,” Rema beseeches Shallipopi to “fuck up this stage,” and it’s a request that his fellow hometown hero duly obliges, opening a portal for raucous celebration that carries over into Rema’s last stretch as he promises to return home for more celebrations like this. 

A little over five years ago, when Rema was originally introduced by Mavin, he was asked in an interview with HipTV what the scariest movie he had seen was. Almost without thinking about it, he named Ozeba, an old Bini classic. And all these years later, it feels fitting that he would close out his homecoming concert with a song that references the childhood he shared with many in his birth city. However, the “Ozeba” that Rema sings about is only a backdrop to a life of luxury and debauchery that his talent now affords him, a far cry from the horrorcore of the original movie. 

The attendees of his homecoming clearly don’t care too much about the thematic divergence of movie and song, as they break into impromptu mosh pits and try to keep up with the frenetic pace of the song from bleachers to the field. Even Rema seems energised by their vigour, and despite the occasional stage invaders, he runs the track back for a second time to even more enthusiastic singing.  On the second performance of Ozeba, the song’s producer, London, and several members of Rema’s retinue join him on stage to perform, bringing a close to a concert that is sure to be talked about for ages in Benin. 

A few hours after the stadium empties, I take a walk-through, taking in all the ways  it has suffered from the typical Nigerian dysfunction of improper care despite its storied history. But for a few hours, no one cared about that – all that mattered was that Rema was home and his people wanted to party with him into the night.  

Featured Image Credits/Shokunbi Halimotu

ICYMI: THE RISE OF A NEW BIG THREE IN AFROPOP 

Review: Fireboy DML’s ‘Adedamola’

“Jealous,” the breakout single that helped Fireboy DML gain instant ubiquity in the early months of 2019, introduced him as a quintessential, wide-eyed loverboy. He was a lovestruck singer who couldn’t stand the thought of his elusive love interest with anyone else. This familiar but charming trope is the bedrock that Fireboy built his first two projects on. ‘Laughter, Tears & Goosebumps,’ his classic debut, mostly frothed with feel-good vibes and relatable, lovesick lyrics that emphasized his nifty songwriting skill while ‘Apollo’ his sophomore, doubled down on this lane and also housed music that elevated mundane premises about love to the stuff of fantasies. 

In an attempt at a narrative reset, Fireboy decided to trade in that adoring, loverboy persona for one of a smooth philanderer, on his third studio album ‘Playboy.’ This time, there was significantly less yearning and far more lustfulness as tales about the allure, access and temptations of his superstar lifestyle filled the tracks. The result was unfortunately mixed. While ‘Playboy’ houses a couple of the 28-year-old’s biggest hits to date, the album suffers slightly from both monotony, and the fact that this new direction lacked the irresistible charm that helped buoy his earlier works. It also did not help that the loverboy to casanova pipeline is pretty trite compared to the sonic and creative direction that a few of his peers have chosen. 

While the singer seemed to have come into 2024 reinvigorated – thanks to his stellar verse on Ayo Maff’s “Dealer” and the extremely groovy “everyday” –  there was still a little sense of precariousness going into ‘adedamola,’ his fourth studio album. The releases that followed 2022’s ‘Playboy’ didn’t exactly all land: bonus points for experimentation on “Someone” but the speed at which he moved on from the single is telling; “Yawa” and “obaa sima” were perhaps the two best singles he dropped in 2023 but they didn’t exactly light the world on fire, while “Oh My” seemed to have fallen between the cracks. This furthered the sense of uncertainty around an artist who seemed to be trying to rediscover his golden touch.

“iseoluwa,” the striking and introspective opener on ‘adedamola’ is, however, quick to dispel the air of uncertainty that preceded the album’s release. It’s arguably the most clear-headed he’s sounded in a while as he gently sings: “Mama say make I listen to Jah, make I no reason too far / Man, I’ve been living too fast, make I dey chill and relax,” over folk-inspired production that’s reminiscent of some of the stuff that made his debut incredibly catchy. On “Change” the opening track from ‘Playboy,’ the YBNL signee grapples with the pressure and allure of being a global star (It’s kind of hard to deal with the pressure but i’m trying / Different women in my DMs it’s a challenge) but on “iseoluwa,” the 28-year-old sings with the clarity and acuity of a superstar who has seen it all. 

This sense of clarity is what helps propel the album as Fireboy manages to rediscover some of the charm that helped him stand out amidst the plethora of loverboy languish. “call me” is a smooth love confessional that makes for easy listening while “hell and back” sees him picking the bones out of a push-pull relationship over Nxrth’s bouncy percussion. “ecstasy,” which features gifted singer and saxophonist Seun Kuti, is arguably one of the album’s strongest offerings. Sonically, the devilishly seductive track finds a sweet spot between R&B and Afropop, as Fireboy’s weightless vocals float over muted synths and thumping log drums. 

“back n forth” with legendary singer-songwriter Lagbaja and the SPINALL-assisted “wande’s bop” both offer a sparkly refresh to sounds from our recent past. The former largely benefits from the reclusive singer’s inclusion, adorning the track with his characteristic percussion and saxophone while the latter pays homage to Wande Coal, another legendary musician who Fireboy has repeatedly credited as a source of inspiration. The pre-released “yawa” and “obaa sima” are included on the album and while they nicely fit into the narrative here, both sonically and thematically, they don’t do much to elevate the overall experience. 

Most of the tracks on ‘adedamola’ sound extremely polished and well put together. The writing is clean and incisive while his sugary vocal sprees all sit atop glossy and elegant production – thanks in large part to Nrxth and Basquially – that shimmer like expensive jewelry. While this isn’t necessarily a problem, it leaves ‘adedamola’ fairly safe, predictable even. In an attempt to rediscover his mojo, it appears Fireboy decided to err on the side of caution, perhaps for fear of producing another album that might receive a lukewarm reception. Arguably the most ambitious record on the album is “ready,” a slow-burning ballad alongside Grammy Award-winning singer and multi-instrumentalist Jon Batiste. Fireboy’s vocals – which seem to have improved, by the way – majestically roar over cinematic piano, giving his performance a bright poignancy; but even that, for all its execution, does not carry much ambition. 

Four albums in and some might argue that Fireboy’s music could do with a little more inventiveness. ‘Playboy’, for all its shortcomings, was a bold attempt at rejigging the Fireboy brand, both sonically and thematically. Even though attempts to mix things up produced dismal cuts like “Havin’ Fun,” tracks like the R&B and Dancehall-influenced “Diana” and the electrifying closer “Glory” highlight the expanse of Fireboy’s artistry, something he fails to show often. With ‘ademamola,’ Fireboy largely plays it safe, going back to what worked in the earlier years of his career and giving it a more expensive makeover. And while his roots are arguably a comfortable place to be for the singer – it’s a formula that works – , the danger is he stands the risk of stagnancy in the long run.

uNder: Best New Artists (August 2024)

Posted on by The Native

As African music experiences a powerful renaissance, these emerging talents are some of the most promising artists at its core, blending originality with a deep sense of place. Their music reflects the rich tapestry of their local environments while rejuvenating a global audience with a keen thirst for diverse African music.

For those who thrive on the energy of underground music and a spirit of defiance, Ravington,  Alor G, Janice Iche, and Chipego are the names to watch.

With each song, these artists inch closer to the spotlight, ready to captivate global audiences and leave an indelible mark across the local scene. Although their journeys are just beginning, and their impact is nascent, spotlighting these talents is not only a nod to uNder’s far-reaching gaze but a testament that no other discovery platform on the continent stays deeply connected to the underground, with an unwavering focus on identifying the most groundbreaking creators shaping the sound of our generation like uNder.

 

Ravington 

For Fans of: Tochi Bedford & July Drama

There’s an unfaltering melancholia that lurks beneath Ravington’s latest project, ‘Tranquil FM.’ Even though the Lagos-based artist tries his hands at a number of fresh sounds across the project’s seven tracks –  borrowing influences from Afropop, House, Hip-hop and even Disco – the songs all remain underpinned by a persistent heaviness that has come to define his music. While this particular quality is partly thanks to the 20-year-old’s voice: a rich baritone that swoops and curls around melodies and tight flows, it’s his pensive approach to music making that truly make his records sound intimate, varied and oftentimes morose.

Born Temisayo Durojaye, Ravington started out his musical career in 2018 as a producer but it wasn’t until 2020 that he started recording his own vocals. He put out his first project ‘SOMETHING TO LIVE FOR’ in 2021, a two-pack track that mostly featured sincere articulations about depression over stripped back production. His debut was quickly followed up by ‘SOMETHING TO DIE FOR,’ another two-pack that doubled as a strong statement of creative intent as well as proof of Ravington’s eclecticism.  

Since his introductory back-to-back releases, Ravington has continued to prove he’s an artist worth paying attention to. His desire to fold musings about depression, love, and life into mostly experimental production that takes influences from an array of genres has continued to produce earnest projects like ‘GOD BLE$$ THE TRAP’ and ‘Retrograde Blues.’ This approach has also earned him co-signs from alte stalwarts like Odunsi (The Engine) and Cruel Santino, two similarly innovative acts who push the boundaries of what their music can sound like.

While Ravington is undoubtedly still rough around the edges – there’s a noticeable lo-fi quality about his music – the potential is crystal clear. In an interview prior to the release of his latest project he was asked about the most difficult part of being an artist to which he replied: “The biggest problem for me right now, is waiting. it’s one thing to have such potential, everybody waiting on the manifestation of it, but in the meantime you have to wait. flowers take time to grow. I think I’m learning that more and more.” – B.A  

 

Alor G

For fans of: King Promise, Rema, and KiDi.  

AlorG is only a little over two years into his career but he’s already regarded as one of Ghana’s foremost next-gen talents thanks to a melodic style that melds the breeziness of Hiplife with the dynamism of Afropop for a style that’s both reflective and hypnotic. Born Alodia Gyamfi, AlorG got his start by performing medleys and covers of popular gospel songs to a social media audience, before transitioning to performing on breakfast and lunch shows in his native Ghana. 

He took a tentative step to launching a recording career by collaborating with fellow next-gen artist, Octoblien, on “Closer,” in September 2022. A dedication to his dream girl, Alor G extols the features he wants from his lover over a balmy mid-tempo beat. He made his solo debut in April 2023 with “Baddy,” a showcase of all that he wanted to offer his lover as he promised a trip to Grenada, shopping runs to get her Gucci bandanas, and sexual pleasure. It was an earnest opening salvo from a singer eager to make his mark on the musical landscape. Months later, he returned with the groovy “Mariama,” leaning into his affection for the titular character and detailing what keeps him fascinated with her – the song’s suggestive verses bear some resemblance to Rema’s “Woman” in how it loops various elements to tastefully describe the fascination. 

AlorG has had a big 2024 thanks to “Free My Mind,” a collaboration with BHADMAYORS that has surged to the top of the charts in Ghana and has all the hallmarks of a regional crossover hit. Built around a plea to live life in the moment and appreciate moments for what they represent, “Free My Mind” has become the biggest song of AlorG’s career to date and has gotten a remix with UK rap group, NSG. The success of “Free My Mind” has set the stage for AlorG to hone in on his sound and it’s what he does on his latest song, “For Di Road,” an ode to keeping one’s focus trained on their journey and what is to come. As he sings about his pains and the complexities of his journey, AlorG is urging his listeners to find solace in the fact that even the darkest nights lead to dawn. – W.O

 

Janice Iche

 

For fans of: Maya Amolo & Coco Em

For many, music is an outlet to express bottled up frustrations. Seconds into Janice Iche’s “Let Me Lose My Mind In Peace,” these pent up feelings are immediately brought to the forefront. Above thrilling melodies and breezy instrumentals lies Iche’s soothing delivery that leads you, though only momentarily, to forget the weight of her confessions and what they imply. She is evidently resigned to her fate in love, overwhelmed by confusion in actions that don’t match up with words spoken. The emotions are intentionally, yet somewhat recklessly sprawled across the low-tempo track, providing insight to just how perplexed the singer must be. 

However, her needs aren’t too far away from her consciousness as her melodic vocals float over the self-produced track, urging her love interest to show up in the ways she requires. This invigorating delivery runs across Janice Iche’s entire discography, with skills alluding to years of practice. “I started writing music at a really young age, probably 7 years old. My early influences were music on the local radio. I was inspired by the art of music and simply wanted to partake. It felt magical to me how I didn’t feel alone when I listened to music [alone in my bedroom] and I wanted to learn how to do the same,” she shared in an interview. 

While traversing safely within R&B, she doesn’t shy away from stretching her palette into Dance or Pop-leaning soundscapes as heard on her collaborative EP, ‘How You Flow’ with NKC. Her debut album, ‘The Journey Continues,’ where her most commercial releases lie, offers a thrilling compilation of her experiences and lessons, allowing Janice to appear most confident in the face of difficulties navigating her path. As songs like “All Up In Your Face” emphasise, she’s also here to reclaim her voice and power after becoming a victim of sexual abuse in the industry early on in her career. Although she shared that some of her earlier releases no longer resonated with her, for reasons she attributed to impatience with herself and her journey, Iche’s craft now not only reflects who she perceives herself to be but holds a tone of confidence, characteristic only of someone marching to the beat of their own drum. Despite having a silent year so far, Janice’s work holds promise of not just a remarkable return, but a steady rise that is sure to gather the attention of all R&B lovers across the continent. 

 

Chipego

For Fans of:  Sun el musician, Somadina, &  Zri

Zambian-born Chipego, is capturing the African music scene with her innovative sound that transcends borders. Seamlessly flowing between genres and creating melodies that will resonate with almost any listener, the multifaceted storyteller weaves her evocative lyricism and spoken poetry into her melodies, painting narrative pictures of the human experience.

With her debut in June 2023, and a growing discography of three songs and a feature, Chipego doesn’t seem to be slowing down any time soon. Her debut single, “Keep On” speaks to the human experience with unwithering honesty. On it, she shares difficulties with a sense of hope, and the ability to grow through the struggles. “The hard gets easy and the grass will grow,” she sings hopefully, not neglecting to references her deep-rooted connection to the motherland with memories of her youth and the familiar craving for a better future.

This theme of growth carries on to her debut project, ‘2U,’ released in December 2023. Featuring two songs titled “CLEMENTINE” and “THESE OCEANS” which delve into self-discovery. “THESE OCEANS” have a heartfelt, emotive experience, of desire for longing, love, and frustration in referencing a deep bond. emotional lyrics like “I need you here in my world,” “You’re blood in my water,” and “It’s always been me and you,” are matched with an upbeat tune, with the contrast creating a soulful listening experience. “CLEMENTINE,” on the other hand,  reflects on the need for closure and acceptance of a newfound reality through heartbreak and loss.

The infectious energy of Chipego’s music can be classified, by its attributes of  African Shoegaze and Afro-soul genres, which hold traditional rhythms while incorporating dreamy Jazz and Pop elements. This result is a familiar, immersive experience, that draws her listeners into a utopian world. Chipego expressed her commitment to “remaining curious in her music” while striving to bring her sound to the global stage, a sentiment she recently shared during a talk and panel on her Instagram.

Review: ‘Lungu Boy’ by Asake

There’s always been a discernable sense of order to Asake’s chaotic process. From the first time I encountered him in the cavernous bowl that is Obafemi Awolowo University’s amphitheater as a student, the raw energy was invigorating, but even more thrilling were the elements that worked in service of his artistry.  One night at amphi, mid-performance of an entirely different version of “Joha” from the one we know today, he breaks into a peppy dance routine while surrounded by a team of contortionists, and as the side-show threatens to swallow him whole, he emerges from their midst just in time to lead the song’s anthemic chorus. Even then, his music had a kinetic quality that ensured that pacing, theme, and performance coalesced into an undeniable spectacle. 

Since the breakout success of 2022’s Olamide-featuring “Omo Ope,” Asake’s playing field has substantially widened. In the time since teaming up with the Street-pop don, Asake has kept audiences enraptured with dispatches of his experiences as he traveled the path from wide-eyed elation to more somber reflections on the lonesome burdens of superstardom. With Asake, the memorialisation of the journey has always been as important as the destination – if not more. 

There’s a thrill in retracing the steps to his blistering debut album, ‘Mr Money With The Vibe’ today, because as he moves from seductive charmer on “Sungba” to self-effusive party-starter on “Peace Be Unto You” via “PALAZZO,” his groovy DJ Spinall collab, you already know he’s building up to the completion of an arc. By the time you are hearing Asake’s supplicatory opening verse on “Reason,” there’s sufficient information to contextualize the devil-may-care disposition that his debut album cackles with on occasion. Tracks like “Dull” and “Organise” detail the taxing specifics of his grind thanks to Asake’s word-bending flow and Magicsticks’ deft fusion of genres that sizzles with participatory intention – no detail feels out of place. 

‘Work Of Art’ is similarly grounded in the realities of a world that Asake has roots in. There were fewer brighter moments in 2023 than when “2:30” made its presence known at the peak of the party. On days when the going got tough, “Sunshine” was a beacon urging listeners to strut on while there’s a summon to more revelry on “Basquiat.” Similarly, we bear witness to Asake’s passive-aggressive chest-thumping on “Great Guy,” a response to repeated criticisms of monotony. Guided by Olamide in the writing room, the world that Asake invites his audience into is thought-out, plotted, and brought to life with clarity; and enjoyment, regret, self-doubt, hope, and consideration are rendered in slang minted from Lagos’ principal Local Government Area, Ìsàlẹ̀ Èkó. 

On Asake’s third album, ‘Lungu Boy,’ the narrational rigor that powered his blistering rise wanes, leaving the singer on shaky ground. There is no connective tissue between most of the tracks as he attempts to piece together his growth from Lagos Island hood rat to global pop icon. There are big holes that are left unplugged and ideas that seem undercooked even if the intent is clear. Part of this comes down to the sheer weight of expectation that Asake is performing under: mere days after the release of his sophomore album, ‘Work Of Art’ last year,  questions were raised about the possibility of completing an unprecedented trifecta with his third. Too many times on ‘Lungu Boy,’ it feels like he is working with a heightened awareness of delivering on that expectation, while stuck on what direction to advance his story towards.  

Typically, the best Asake songs dissolved the weight of the world they existed in, moving across eras with a nimble placelessness that made the distance between the past and present a mere suggestion. That is not the case for much of ‘Lungu Boy’ despite a valiant effort to broaden the scope of his sound. With the exception of a handful of songs, there’s a sense of vapid listlessness creeping into Asake’s writing that’s compounded by a mixing process that sterilizes his usual frenetic sound. “MMS,” named after the singer, is essentially a pale imitation of Wizkid’s post-‘Ayo’ mid-tempo R&B style. It benefits from the strengths of the style and suffers from the weakness that plagues it; making  for a soul-refreshing groove that pleasantly washes over you at first until it threatens to suffocate you with lethargy. 

In the lead-up to the release of ‘Lungu Boy,’ a lot of the chatter around the project hinted at Asake introducing the world to Lagos Island and the quirks of its subculture, in order to contextualise his stunning rise. In a twist, ‘Lungu Boy’ only references Ìsàlẹ̀ Èkó in silos even if those songs represent some of the album’s brightest points: “Uhh Yeahh” feels like the sort of song engineered to headline a street rave in much the same way as “Joha” was intended, while the irrepressible “Fuji Vibe” pays a classy homage to the music that Asake heard as a child in Lagos Island, traditionally a Fuji stronghold. Even when his Fuji fundamentals are run through a Pop filter, the results are similarly admirable. “Suru,” enlivened by Stormzy’s verses, is a tale of redemption as much as it is a tribute to the restorative love of a mother. Similarly, the Travis Scott collab, “Active,” is a stirring declaration of intent that brings Fuji along for the fun via a sample of Jazzman Olofin and Adewale Ayuba’s seminal hit,“Raise Da Roof.” 

Asake’s mainstream run had barely begun when critics started to question the stylistic monotony of his Amapiano-influenced sound. Production-wise, ‘Lungu Boy’ represents the biggest recalibration of that well-wrought path so far. On it, Asake charts an entirely new path, taking a chance with eking techno beats and alt-R&B influences. It’s the sort of risk that innovators work towards much like Rema’s left-field turn on the incisive ‘HEIS.’ 

Production heavyweights, Sarz and P.Priime, set the tone for Asake’s new arc with a number of instrumentals that are mesmerizing and throbbing if also stripped of the live instrumentation that his early stuff thrived off. “Mentally” charts his insane global travel schedule and the demands of a life he’s long pined for, but lacks the emotive candor of “Nzaza” or the grit that fuels “What’s Up My G.” There is something markedly jarring about the choice of “Skating” as a peg for exploring new interests in his life. “Skating issa lifestyle / Skating Skating Skating / Skating is a part of me,” he drones on the song’s chorus. Asake’s flow sounds ponderous, perhaps unsure himself of just how he’s come to be into skating.

“Wave,” the Magicsticks-produced banger that follows “Skating,” sits in the lineage of Asake’s best songs. “Make nobody stress me, I’m on a wave right now / When I get marijuana, na to flex, na to chill right now,” Asake sings on the chorus of the summer-ready anthem. There’s a palpable sense of relief in listening to this song. It’s a much-needed reminder of Asake’s ability to impose believability on the ideas – destiny, romance, and living it up – that he touches on, while keeping the audience totally transfixed. It used to be that listeners could come to Asake for songs that started strong and maintained the energetic pace that animated them from the start. 

“Mood,” with its guitar and steel drum highlights, is forward-thinking but sorely lacks the propulsive energy that’s a key Asake feature. Put another way: too many songs on ‘Lungu Boy’ are identical and one-paced. All the talk about women in the backseat, the puerile signifiers of sexual indulgence, and being higher than he was yesterday sound exhausted and rote, leaving him a pace behind the world he attempts to front. 

Whether it is recognised yet or not, Mr Money is a linguistic authority, articulating the moods and feelings of the Lagos Island trenches for a world that has no understanding of the inner workings of that hood. That feel for language is what powered songs like “Terminator” and “I Believe” into ubiquity. On ‘Lungu Boy,’ it shows up in bits and pieces like on the opening stretch of “Worldwide” where he’s channeling consternation at his haters who want to see him fail while the Sak Pase-produced “Whine” is an industrial-yet-rhythmic offspring of the konto sound that ruled Nigerian pop in the early 2000s with help from Brazilian singer, LUDMILLA. They don’t go all the way but there’s promise in what they aim at. 

“My Heart” is perhaps the most emotionally wrenching song on ‘Lungu Boy,’ a clear microevolution on the dynamics of how Asake approaches romance, but it is not without its own reproach. “Atutu poyoyo she’s not from ghetto, speaking Spanish,” he tenderly sings in ode of his ideal woman that’s evidently not from the ghetto – but it’s a moment that show the stark disconnect between his idea of what a Lungu Boy is, and what being from the hood should represent, global stardom or not.

[Featured Image Credits/NATIVE]

ICYMI: REVIEW: ASAKE’S ‘WORK OF ART’

Gen Z: The Generation That Sparked A NationWide Movement

Posted on by Tela Wangeci

The liberation of any people depends on who is standing on the front lines of its struggle. For South Africa it was Nelson Mandela and for Kenya, though still hotly debated, it was Jomo Kenyatta who sneakily “led” the country to independence. Over six decades after becoming a republic, Kenya still languishes in the shadow of neo-colonialism. Corrupt, nepotistic and a fascist “democracy” are all terms that can be used to describe the state of the nation in the past few years. Power is held by two major tribes, the Kikuyu who are from the Bantu Speaking Group in Central Kenya, and the Kalenjin who are from the Nilotic Speaking Group in the former Rift Valley province. Both groups have taken turns ruling the country, always ensuring their tribesmen are in government and their power absolute.

Kenyan youth, through history, have rarely had their say in government. This was patently obvious in the previous general elections which saw William Ruto win the presidency where less than 5% of Kenyan youth actively participated in voting. The fact that we, the youth, have grown up under a regime of political dynasties where the same leaders are cycled through different government offices backed up by stolen elections, has created a country of youths who have no hope. If you asked any of us about the elections, the most popular answer would likely be: “I don’t bother myself with politics because we can’t change it.” Two months before the bill was publicised, Citizen TV Media Station hosted an interview with finance experts explaining the process leading up to the passing of the 2024 Finance bill, while discussing what to expect. Unlike 2023, when the public was made aware of the bill and public participation was enforced, very few youth were involved in public consultations. This means the 2024 finance bill was already on its way to parliament for the first reading by the time much of the public was made aware of its existence. This was enough to rile up the country’s Gen Z for a movement that would be unforgettable in Kenya’s history. Fast forward a few weeks, and the prevailing discourse among young people shifted from daily conversations about partying and bullying each other on X, to topics that were more politically driven, focusing on the 2024 finance bill. 

May 2024 was when conversation about the finance bill really started to become popular online. Famous influencers like Mike Muchiri started by criticizing the 2023 bill, which included a Housing Levy Tax that was passed following a year of heavy taxation. This was the final blow that forced the country to pay attention to what the 2024 bill contained. Further, he took the initiative to create a TikTok channel that included people from all 47 ethnic tribes in Kenya with the aim of breaking down the bill in ways that would make it easy for the common Kenyan to understand. X users followed suit, with numerous influencers such as Kasmuel McOure speaking out about the issues the bill had. It was clear that there was a paradigm shift in our participation in the country’s governance. 

What followed was a ripple effect. Gen-Z users on X created FinanceGPT, a limited online copy of AI application ChatGPT which was coded to break down the Finance Bill details for easier understanding. This lead to the start of the #RejectFinanceBill2024 online movement, which attracted so much attention the Kenyan Government censored the hashtag with spam bots and paid influencers who were “siding” with them. 

But all attempts by the government to try and sabotage the #RejectFinanceBill2024 movement only led to its increased relevance, with almost every Kenyan on X using the hashtag in all of their tweets. This further pushed the issue into the massive Tiktok community, resulting in the inclusion of Millenials and Gen Alpha in the conversation. The explosion of this early grassroots resistance fuelled the government’s anger towards its young citizens, leading to the introduction of the popular phrase and movement “Leta number tumsalimie” translating to “bring the leaders numbers, we say hi.” Kenyans spammed corrupt leaders with calls, text messages and even WhatsApp messages, trying to hold them accountable for their actions. Members of Parliament were spammed on almost every platform, as citizens urged them to vote no and drop the bill. In response, some government leaders sent back abusive texts and told people to work hard so they could afford the heavy taxation. This flagrant display of government corruption ignited a new kind of fire among Kenyan citizens, pushing them to embark on nationwide protests to further push the #RejectFinanceBill2024 movement.

For his part, current president William Ruto Samoei, urged the Kenyan National Assembly to pass the recommended bill regardless of what Kenyans demanded. This pronouncement was followed by the first peaceful mass protest, “Tokea Tuesday,” held on Tuesday, June 18. The results of that protest were positive, despite the police using brutal force by deploying teargas canisters, water cannon trucks, beating peaceful protesters, shooting rubber bullets and arresting innocent people who were exercising their democratic rights under Article 37 of Kenya’s constitution. 

This incident showed the disconnect between the Kenyan people and our leaders, as the proposed finance bill was set to heavily burden everyday Kenyans with high taxes, making life in the country unbearable. The bill was set to introduce a Motor Vehicle Tax with a rate of 2.5%, a Withholding Tax on goods supplied on public entities with rates of 3% on residents and 5% on non-residents, a new tax on the digital economy where anyone who monetizes digital content is taxed at a rate of 5% for residents and 20% for non-residents, and a Significant Economic Presence tax at 30% for certain non-residents, a replacement for the National Health Fund Insurance (NHIF) which is the SHIF (Social Health Insurance Fund). The already-existing post-retirement medical funds together with the ‘affordable’ housing levy would now become deductible funds, a staggering increase in the VAT (Value Added Tax), along with a tax on diapers, sanitary pads among other imported manufactured goods together with ancestral land. The amendments on the Lands Act of 2022 would force citizens to pay taxes for land inherited from family. This is merely a glance at the gruesome Finance Bill of 2024, proposed to improve the economy but instead seeming to be a way of improving the top government’s way of life and of funding weekly tours around the world for elected officials.

On Thursday June 20, the second wave of the #RejectFinanceBill2024 movement took off, which ultimately led to bloodshed within the Nairobi Central Business District. Protesters were subjected to unspeakable brutality from the National Police Service as thousands of Gen Z youth turned up adorned in black, marching through the streets chanting “We are peaceful,” while holding placards that expressed their grievances about the bill. But despite the bleak circumstances, the young people present at the protests found ways to be joyful, singing the popular protest anthem “Anguka Nayo,” while dancing and resisting unlawful arrests. In the evening, the police sent out plain clothes officers who shot at random civilians regardless of whether they were part of the march or were simply outside going about their day. During the march, hundreds were injured and two casualties, Rex Masai and Evans Kiraitu, succumbed to injuries from live bullets. “They sent goons who looted shops to make it look like we were at fault,” said George Kihoti, who was one of the protesters. “Afterwards they sent undercover police who sprayed live bullets at everyone causing confusion.”

We expected the Cabinet Secretaries, who are Ruto’s right hand men, to condemn the brutality after the loss of lives. Instead they mocked us telling us they have been in our position before, calling the protests useless and bearing no fruits. Those who are supposed to advise the president on the situation of the country instead turned their backs on Kenyan youth. 

As the bill approached its third and final reading before the president signed off on June 27, Kenyans coined the term “Seven Days Of Rage,” and changed the hashtag from #RejectFinanceBill2024 to #OccupyParliament. This was a call to all youth within the country to come out and show their disapproval of the Finance Bill. Towns were filled with water dyed pink and green by police water cannon lorries throughout the week as the protesters showed up in massive numbers. 

On June 27, 196 Members Of Parliament voted for the bill while 105 voted against it. This enraged Kenyan youth, causing the protests to turn violent as paid goons infiltrated the formerly peaceful demonstrations. This caused widespread confusion, leading to looting and destruction of both private and public property and the storming and infiltration of the Kenyan parliament. Police followed this with snipers and live ammunition, blood and brains scattering outside the parliament building. Still, the young people who had just survived the frontlines of this bloody incident took care of the deceased by covering them with the Kenyan Flags while singing the national anthem, throwing their arms in the air. At the same time, police fired teargas canisters at both the deceased in the street and the protestors trying to retrieve their bodies. “It was disheartening,” George Macharia, a protester who was on the frontline said of the massacre. “We watched the brains of one of our agemates smear on parliament road. The same parliament that is supposed to defend us.”

Meanwhile, Ruto – who is both a darling of the West and a pathological liar – denied that lives were lost, calling the Gen Z protesters spoiled brats while cabinet secretaries spoke down on them, mocking them for coming out to the protests with Keringet bottles of waters (Kerigent is a mineral water company  that is associated with the middle and upper classes in Kenya), driven by Ubers and having lunch breaks at KFC. The night the bill was passed, the National Police Service, aided by the country’s Special Teams, went to the city of Githurai situated along Thika Road and fired live rounds of ammunition at residents there. The resulting  casualties were those seen in videos of the police dragging dead bodies into lorries with no registration plates. Those bodies are still being found in different locations around the country, as the government attempts to mask the number of casualties. This was termed as the “Githurai Massacre,” soon followed by the “Rongai incident,” where police again shot multiple rounds at peaceful protestors and random civilians, including two children aged 9 and 12 who were just going to the shops. 

In the aftermath of the unrest, Ruto stated that the bill would need to be revised, but Kenyans are in doubt. In Kenya there is a law that states if a bill is not passed in parliament, the parliament has 14 days to revise the bill and incase of no agreement, the bill will automatically be passed. At the moment, the Finance Bill was set to be amended and unfortunately no one knows where the bill stands. While conversing with different Kenyans you hear a variation of answers but the most common one is, the bill was already passed and the president pulled a PR stunt by “recalling” the bill. There have been noticeable changes in the cost of living in some areas, the price of a single stick of cigarettes was increased by  5/= making the cheapest pack 300/=. A 100/=increase. Groceries, commuting fares and even food prices have slowly been appreciating. 

The pressure of this grassroots movement powered by Kenyan Gen Zs, has caused the entire continent to pay attention to our requests. While the president asked for dialogue between Gen Z leaders and himself, he stood shocked after he found out the protests were leaderless: we all came out to the streets to demand that the bill be cancelled not because we were organised by a union, but because we were tired of living under a corrupt leader while taking on heavy taxations. Ruto was ultimately forced to dissolve the same cabinet that mocked us for our attempt to #RejectTheBill. 

Thanks to the iPhones, KFC and Uber service the government tried to disparage, we made it happen. The last time the Kenyan cabinet was dissolved was in 2005 when the country’s third president, the late Mwai Kibaki, lost a referendum over a new constitution. While Kibaki’s move was the  result of him having no confidence in his government, Ruto had been under pressure defending his government despite the anti-tax campaigns. 

With that said, the fires of resistance still rage on, as Kenyan Gen Z youth demand the dissolution of unconstitutional offices such as the Office of the Prime Cabinet Secretary. Gen Z also continues to look into further government bills as the weight of the previous mass protests sits heavy in the country’s heart.  In the weeks after the dissolution of cabinet, the Kenyan youth are faced with another conundrum. While the president put on the facade that he had listened to the youth, behind their backs he had been trying to squash the protests. Ultimately, the Finance Bill 2024 was passed and new members were appointed to the cabinet, but to everyone’s shock it was a repetition of leaders who are incompetent full of embezzlement cases and drug cases. Just like Kenyan rapper Octopizzo said “The Movement is on!”

Now Playing: “Songs That Get Me Going” by DJ Lag

Posted on by Jim Falola

South Africa has always been a hotbed of music. Kwaito and House soundtracked the country’s dancefloors at the end of the Y2K era, and at the turn of the decade, Gqom and Amapiano cast a global spotlight on its pervasive dance scene. 

In contemporary times,  3-step is edging its way as the country’s latest dance brainchild and DJ Lag – one of the most defining Gqom voices — is quick to differentiate between the genres when we hop on a Zoom call “I think Amapiano and Gqom really use the same sounds. Gqom is like stripped back Amapiano, and the 3-step I can say is Afro-tech but changed into broken beats”, he explains.

Raised in Durban on Kwaito influences, DJ Lag – Lwazi Gwala – was influenced by his rapper cousin to get into music production.  After a short stint messing with Hip-Hop, DJ Lag leaned into his native Kwaito influences and narrowed into tribal house beats, eventually leading him up the alley of Gqom.

Since his ascendance, DJ Lag has emerged as perhaps the most prominent vanguard of the genre, playing festivals globally and pushing the local soundscape with a consistent flush of pulsating music. His latest offering, Rebellion, just arrived weeks ago, but DJ Lag isn’t letting up “I am thinking of dropping an EP in November or December. I can say Hade Boss made me want to make another project.” His thirteen-track sophomore, Rebellion, released in June was filled with party-rocking anthems like Yebo, Hade Boss and Kwenzakalan “Rebellion is an album I started last year, but Hade Boss, I did that in December and the reception was crazy. So I am just focused on that style, it’s a mixture of Amapiano and Gqom.” 

In an era where partygoers are returning to dance floors  & sound systems and parting ways with luxurious discotheques, Gqom is leading the charge as one of dance’s foremost genres, and DJ Lag is at the heart of this renaissance. “Novaboy, K.C. Driller who does Amapiano, Da Man who does Gqom, Dezzodigo are definitely people you should look out for”, he says before citing Mnike by Tyler I.C.U as the one song he would play if he had a single shot at putting people onto contemporary South African music. “It’s a classic. It tells you this is South Africa. There’s Gqom in there, there is Amapiano and it was like a remix of a classic song.”

As a DJ, crowd control is at the core of his artistry, and DJ Lag ensures the audience always gets a topnotch experience by watching the set of whichever DJ plays before him. It’s a practice he has held dear since his come-up days in Clermont, Durban till now as he tours global stages heralding the gospel of Gqom. For someone who has played countless sets across the world, I ponder what feeling DJ Lag seeks when he commandeers the turntable “Happiness, man. I just want to see people dancing to my music, that’s it.”

As someone who always sets the mood and gets the party going, we had DJ Lag curate a special playlist of songs that get him going. 

Listen here.