Gay is African

“Doesn’t the Sergeant know that there are men who from youth desire women, and others, who are attracted only to men? Why should he be punished now? After all, he knows not why God created him like this, that he can only love men!”

A quote in “Same-sex Life among a Few Negro Tribes of Angola”

I. Homosexuality in pre-colonial Africa

There is nothing African about homophobia. Despite what’s been constantly peddled to us by the likes of political conservatives and religious leaders, a glance at African history reveals that homosexuality is not “un-African”; rather, it is the laws that criminalize it that are. Like other societies in the world, whilst widespread African communities generally placed an importance on heterosexual marriages as the basis for family life, African societies were also characterised by a diversity of sexual expressions. Several African cultures believed that gender was not dependent on sexual anatomy. This is displayed with androgynous deities like Esu Elegba, the Yoruba goddess of the crossroads or Mawu Lisa, the Dahomey goddess.

The myth that homosexuality was absent or introduced by the “West” in pre-colonial African societies is one of the oldest and most enduring. For Europeans, black Africans, of all the ‘native’ peoples of the world, were classed as the most “primitive man”. Hence, as a primitive man, he was ruled by instinct, his sexual energies had to be devoted to his most “natural” purposes, sexual reproduction. Today, with the failure of many African governments, countries like Nigeria need a distraction that plays into the psychopolitics of the nation. Therefore, they use the virility of a true “African man” and his masculinity as a distraction, stating that it must be maintained, as gender equality and homosexuality are threats to heteropatriarchal African societies.

To understand African homosexuality, we must abandon Western beliefs and values of sexuality, love and marriage. Sexuality in pre-colonial Africa was complex: the organising of gender, sexuality and reproduction are not comparable to the rigid structures of western contemporary societies. Love, intimacy and companionship whilst welcomed, were not necessary or expected in African societies. In order to prevent depicting a forged unified mythical African homosexuality, multiple patterns of same-sex sexuality are discussed. It is pertinent to note before we begin, that in every region, female same-sex patterns were poorly documented and frequently misunderstood. These relationships were not often revealed to men, especially outsiders, hence it has seldom been mentioned by anthropologists working on the continent. However, Audre Lorde was surely correct in her stance when she stated that with so many African men working away from home, it was not unusual for African women to turn to each other.

Leading the colonization of Africa, the Portuguese became the first Europeans to discover that African sexuality and gender diverged vastly from their own. In the early 17th century, efforts to conquer the Ndongo Kingdom of the Mbundu were thwarted by King Nzinga. She had become King by succeeding her brother, which was not uncommon in the matrilineal society of the Mbundu. In the late 1640s, the Dutch military observed that Nzinga was not known as Queen, but King of her people. She ruled dressed as a man, surrounded by young men dressed as women who were her wives. This Nzinga behavior was not personal eccentricity but was based on the recognition that gender was situational and symbolic as well as personal and an innate characteristic of the individual.

Describing Zande Culture, Evans Pritchard stated, “Homosexuality is indigenous. Zande do not regard it as at all improper, indeed as very sensible for a man to sleep with boys when women are not available”. He went on further to state that this was regular practice at court, and some princes even preferred boys to women when both were available. These relationships were institutionalised, men that had sexual relations with another’s boy wife, would pay compensation. People asked for the hand of a boy, just as they asked for the hand of a maiden. The men would treat the parents of the boy acting as if he had married their daughter, addressing them as father-in-law and mother-in-law. However, when the boy grew up, he would then take his own boy wife in his turn, whilst the husband would take a new boy wife. It was not uncommon for a member of these tribes to have up to 3 boy wives in succession.

Although substantially converted to Islam by the late 15th century, the Hausas today still participate in a possession religion called the Bori cult, which many believe to have survived colonialism. Gaudio believes that there has been little if any non-African influences on Hausa same-sex patterns. In 1994 when a local Muslim newspaper characterized homosexual marriages as a western practice alien to the Hausa culture, many refuted this stating that it was indigenous to them, even though marginal. Hausa “gay” men refer to their homosexual desires as real and intrinsic, but also regarding their reproductive obligations as even more real and more important than their homosexual affairs, which are often referred to as wasa – play. Arranged, or mandatory marriage does not require heterosexual desire, neither is this desire referred to as natural or even necessary. Pre-colonial kinship obligations and family interventions ensured marriage happened. These societies did not need to suppress homosexuality, as long as it did not threaten the directive to marry and reproduce.

There were also often many African explanations for homosexuality. Among the Fanti of Ghana, where gender mixing roles for males and females were common and observed, it was explained that those with heavy souls, whether male or female, will desire women, whilst those with light souls will desire men. In the Dagara of southern Burkina Faso, it was explained that gender had little to do with anatomy. The earth is described as a delicate machine with vibrational points which people must be guardians of in order for tribes to keep their continuity with the gods. Individuals linked with this world and other worlds, experience higher vibrational consciousness, far different from a normal person, they explained is what makes a person gay. It is important to note that the Dagara were a tribe described to know astrology like no other tribe encountered and that the great astrologers of Dagara were often gay.

All over the world, people view homosexuality as a vice of other people. The recurrent British claim that Norman conquerors introduced homosexuality to the British Isles. The French view homosexuality as Italian, Bulgarian or North African, Bulgarians as coming from the Albanians, and so the story goes. African societies did not lack homosexual patterns, there is more than enough substantial evidence showing that same-sex patterns were traditional and indigenous. African same-sex pattern was not only widespread throughout the continent but was diverse. In fact, it is stated to be more diverse than those found in other parts of the world.

II. The Importation of Homophobia

The situation in Europe however, was largely different. In 1533 King Henry VIII signed the Buggery Act, which criminalised sex between two men, into British law. The accepting attitudes in Africa quickly changed as penal codes were implemented against homosexual practices which were seen as felonious crimes by the British. These penal codes were based on Christian doctrines which interpreted homosexuality as ‘savagery’ and ‘sodomy’. The British sought to instill in Africans, the belief that homosexuality was a primitive practice that needed to be wiped out if we were to conform to European civilisation. Thus, the views of Europeans towards homosexual practices in Africa were rooted in White Supremacist thinking that placed African practices as primitive. The quest to eliminate the acceptance of homosexuality in Africa by the colonisers also illustrated the ‘desire to remove it from the perversions which occurred in European societies’, as Boris Bertold puts it. For example, Captain Sir Richard Burton, who was a European traveler described some parts of Africa, Asia and the Americas as a ‘sodatic zone’; describing places where European homosexuals could freely express their relationships as they could not in their home countries.

Between 1897 and 1902, the Penal Code, which had been previously enacted in India by the British, was applied in African colonies, criminalising homosexuality. It stated-:

“Whoever voluntarily has carnal intercourse against the order of nature with any man, woman or animal shall be punished with imprisonment for life, or with imprisonment for a term which may extend to 10 years and shall be liable to a fine.”

This code created a legal basis for homophobia and is responsible for the discrimination that homosexuals face in ex-colonies today. The effect of British colonial rule over the Hijra people in India also reveals the impact of the importation of homophobia into British colonies. The Hijra people are non-binary, trans and intersex and were given legal recognition as a third gender for over 4000 years as shown by ancient records. After the implementation of the Penal Code criminalising homosexuality, the protection that this community enjoyed was removed whilst the homosexual community was also being persecuted. Although these laws were repealed after India gained its independence, this community still faces severe discrimination especially in access to healthcare.

Over a century after stripping away African culture and forcing us to conform to Western norms like homophobia, the tables have turned and the U.K now uses the very homophobia they instilled in our communities as a means of further repression. For instance, David Cameron, ex-Prime Minister of the U.K threatened to cease financial aid to Uganda as they continue to violate human rights by persecuting homosexuals.

Instances like these should be a pointer to African leaders to think for themselves rather than attempting to fit into the archaic mold of morality which was imposed on us. It becomes clearer as time goes by that morality is a social construct. Whilst the threat of withdrawing aid in the instance above appears to be intended to promote more progressive attitudes in Africa, this approach is, in the words of the Ugandan Presidential Adviser Yoweri Museveni, an ex-colonial mentality of saying ‘you do this, or I withdraw my aid’. Therefore, it is possible that the resistance against the decriminalisation of homosexuality is partly explained by the fear of neo-colonialism which illustrates that the scars of colonialism still lie deep within us. However, rather than continue in this pointless direction of opposing progressive thinking because of who it may come from, Africans need to reclaim the progressive aspects of their culture that were stripped away and evolve, as this is the route to true independence.

III. Homosexuality in Nigeria Today

Nigeria has continued to maintain colonial attitudes towards the LGBT community. Homophobia in the country is now supported by the Same-Sex Marriage (Prohibition) Bill (SSMPA), which was passed in 2014. This heavily polices the LGBT community and imposes harsh punishments with sentences ranging from 10 to 14 years in prison.

This law sent the message to the local and international community that the Nigerian government had no intention of giving into the pressure of protecting the rights of sexual minorities. More importantly, it has further exacerbated violence against the LGBT community and has empowered the police to arrest and detain people based on their perceived sexual orientation. There are repeated reports of arrests of the LGBT community, raids of events and safe places, and even a police unit declaring it was ‘on the hunt’ for homosexuals. The homophobia displayed not only by the police, but encouraged by civilians as well, is a major reason why the intersectionality of sexual orientation and police brutality was so crucial during the #EndSars movement. Undeniably, the most disheartening aspect of the SSMPA, apart from the law itself, is the fact that it was viewed so positively by Nigerians. This again highlights the hostile environment in which the LGBT community must exist and shows the extent to which the passing of the SSMPA made an already bad situation worse.

As the SSMPA has effectively legitimised violence and erasure of the LGBT community, it is important to highlight the efforts of the community to be seen and heard.

#THEENDSARS PROTEST

The #ENDSARS protests, which first began in Nigeria, in 2016, against the SARS unit which is known for its brutality against the very citizens they were created to protect. The protests were reignited again in October 2020, provided many queer Nigerians to voice their violent experiences with the police in Nigeria. Queer Nigerians were amongst the first to join the protests. Whilst they were met with hostility by other protestors, who felt it was neither the time nor place for them to air their views, they stood strong and demanded to be heard. If anything, it amplified their voices and showed the world what a homophobic country Nigeria is. The video of LGBT activist, Matthew Blaise, an openly gay person in Lagos, screaming ‘Queer lives matter’ on the streets of Lagos garnered over 3 million views on Twitter. It was bold moves like this that made the #ENDSARS movement a notable movement in Nigerian queer history.

Living Loud and Proud
Despite the criminalisation of the queer community, there are still people who refused to be silenced and live a life that is not theirs. They resist the law by existing. Considering the ignorance and hate that thrives in Nigeria, to say that living in one’s truth in such an environment is brave, would be an understatement. People like Matthew Blaise, Amara the Lesbian, Bobrisky, James Brown and more, have shown that they will not be silenced or policed by unjust laws. They have shown that despite belonging to a marginalised group, there is still incredible power in resistance.

However, it is worth recognising that not everyone who belongs to the queer community is privileged enough to do this. Some people face more immediate danger and risk. Therefore, it is important that we all stand in solidarity to promote queer rights and push against the homophobic laws in this country. Of course, we still have a very long way to go, considering that a lot of the homophobia we see is rooted in religious beliefs. Yet, hopefully, one day homophobic Nigerians will show even an ounce of the queer community’s own bravery, and begin to question their intolerance and hate and grow beyond that. We hope that many of the young LGBTQ+ Africans reading this know that they are seen, and are a part of a beautiful African history.

Featured image credits/NATIVE

Four Takeaways from TurnTable’s inaugural quarterly report

As far as the music business is concerned, numbers make the world go round. Even in the Nigerian music space, where figures can be a shadowy metric, artists and labels are keenly aware of how sales signify relevance. It’s why M.I bragged about selling 30,000 copies of his debut album in 30 minutes, and why P-Square used to quote otherworldly amounts as their pay-outs under the famed Alaba market distribution model. These days, though, numbers are a little more transparent than hearsay, but there’s still some much-needed context, which is where TurnTable has been putting in active efforts in the past two years.

In the post-digital era of music, Nigeria is still finding its feet in a vastly untapped market that is fulfilling its potential however it can. Globally, streaming is king, but the phenomenon is still taking time to penetrate the market in these parts. Through its weekly charts, led by the Top 50, TurnTable has reflected a significant portion of Nigeria’s streaming audience through its current tracking of freemium platform numbers. Beyond that, it’s also continued to hold up a mirror to more traditional, and inarguably far-reaching, mediums of music consumption, tracking impressions from radio and TV.

In considering these legal means of accessing music, TurnTable is offering us the reality of Nigerian music’s listening infrastructures, albeit slightly fragmented due to lack of ready access to paid streaming platforms—which should be fixed sometime soon. At the top of this week, TurnTable released its inaugural quarterly report, summarising key facts and figures on the most popular metrics from the first quarter of 2021. If you’ve been following the TurnTable Top 50—which the NATIVE has been summarising every week—these details are anything but alien. If you haven’t, they should be revealing even though they won’t be totally surprising. Here are four talking points from the report, which you can view in full here.

Omah Lay’s dominance continued

2020 was the year of Omah Lay, but it hasn’t stopped there. The Port Harcourt-raised singer, songwriter and producer emerged as the singular, most captivating talent during a quarantine-wracked year. His debut EP, Get LayD, came out before TurnTable started sharing metrics but there’s no doubt of the impact it had. By the November release of his sophomore EP, What Have We Done, Omah Lay’s readiness for superstardom was sealed, evident in the numbers and feats he posted during the first quarter of 2021.

He set the record for most weeks (11!) at number one on the Top 50 with “Godly,” racking up the most streams across freemium platforms for any song in that period. His song-defining appearance on Olamide’s “Infinity” also played a big role in its feat as the third most streamed song during this period. Extending his role as a stimulus pack, he also helped Ajebo Hustlers and Ghanaian singer Gyakie earn hugely popular songs, the latter’s “Forever (Remix)” landing at the apex of the Top 50 for four non-consecutive weeks. Omah Lay is clearly just getting started.

YBNL’s ever-present EMPIRE

Nine years ago, Olamide released his sophomore album, YBNL (Yahoo Boy No Laptop), his first of many albums on the record label of the same title. In the time since, YBNL has emerged as a mainstay in the Nigerian mainstream, through Olamide’s prolific spree of hit singles and albums, and a constant cast of emergent new stars from Adekunle Gold to Lil Kesh to Fireboy DML. Early last year, YBNL announced a joint venture deal with the U.S-based indie powerhouse label EMPIRE, a move that’s already yielded dividends for both parties.

Under this arrangement, Olamide released his tenth studio LP, Carpe Diem, an album whose hype swelled in the aftermath of the EndSARS protests. With several fan-favourites, the project spawned megahits in “Infinity” and the Bad Boy Timz-assisted “Loading,” the former being the 2nd most popular song in the first quarter of 2021 by joint metrics, and the latter coming in third on the TV impressions metric thanks to its stunning, VR-indebted music video. Fireboy’s sophomore LP APOLLO came out around a year ago, but his feature appearance on Peruzzi’s “Southy Love” and Cheque’s “History,” both well-performing tracks on the Top 50, helped YBNL rank as the number two on the top labels chart for Q1, all stats considered.

With Olamide’s new album, UY Scuti—and its lead single “Rock” currently at number one on the Top 50—still gaining traction, this won’t be the last time YBNL will feature heavily in TurnTable’s quarterly reports.

Davido can’t stop, won’t stop

Since Davido brashly asked us to get out the way and watch him work on his sophomore single, he’s remained the quintessential Afropop superstar. While it took seven years to follow up his debut album, the singer returned with his third studio album, A Better Time, about 365 days later. With a laser focus on delivering hit songs, ABT is a stellar presentation of Davido’s abilities to bounce around diverse musical styles and synthesise widely loveable hits. The album has fulfilled intentions so far, going by the number of feats it scored on TurnTable’s Q1 2021 report.

Propelled by ABT and his feature on Teni’s chart-topping “FOR YOU,” Davido ranked second in the most equivalent streams in that period. He also led the pack in both radio and TV impressions, with the star-studded video for “Jowo” racking up 118 million TV impressions to lead that category. These accolades also extend to collective achievements, where DMW leads the pack as the top label in Q1, all stats considered. During that time, his collaborations with star mentees Mayorkun and Peruzzi, “The Best” and “Somebody Baby,” respectively, regularly featured in the top fifth of the Top 50 charts. Davido is a one-man chartbuster, but he also has a formidable crew with him.

Street Hop is alive and doing way beyond fine

Early last year, following the marquee runs of Naira Marley and, to a slightly lesser extent, Zlatan, there were several doomsday predictions on the inevitable demise of the latest wave of street-bred music. It’s typical, though, considering Nigerian mainstream music’s penchant for ripping through sonic and dance styles from the inner hoods with reckless abandon. Eighteen months later and it’s safe to call bull to these predictions, with this prolonged prominence making it clear that the streets have the sauce and are in no rush to relinquish it.

Of the ten most-streamed songs in Q1, seven are headlined by artists who make street-bred music. Olamide has two entries with “Infinity” and “Triumphant,” the latter features Bella Shmurda who also has “Cash App” and the Masterkraft-headlined “Hallelu” as entries. Naira Marley’s late December singles, “Koleyewon” and “Chi Chi,” are at numbers 2 and 6, respectively. Rexxie’s “KPK,” featuring Marlian Music signee Mohbad, completes the takeover at the fifth spot. During the same time, Bella Shmurda’s slapper “Rush” was the most popular song amongst Triller users in Nigeria, making him the most popular artist on the short form video-making and sharing app.

Like Reminisce and Olamide proclaimed all those years ago, “streets ti takeover,” and there isn’t much Twitter fingers and/or armchair pundits can do about it.


@dennisadepeter is a staff writer at the NATIVE.


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Four takeaways from Angelique Kidjo’s ‘Mother Nature’

Angelique Kidjo is African music royalty and a global music icon. About three decades ago, the Beninese singer, songwriter and producer made her major-label debut with Logozo’, a classic album that’s fundamental to the contemporary bridge between music made by Africans and the rest of the world. Commandeered by her equal parts agile and siren-like voice, the searing merger of traditional Folk rhythms with Disco’s shininess prioritised her African identity, while putting it in conversation with a world that was on a slow and steady track to globalisation.

Long before Afropop to the World became a rallying cry, Angelique Kidjo had been exporting music heavily influenced by both her Beninese roots and pan-Africanist curiosity. Constantly innovating and consistently captivating, with an unyielding dedication to presenting the continent in its regality and infinite potential, her sprawling discography is a treasure trove of invigorating numbers. For her excellence, Ms. Kidjo has won four Grammys for Best World Music Album, the most by an artist in that category.

As accomplished as she is, there are no signs that Ms. Kidjo will be slowing down anytime soon. Earlier this month, the revered artist put out her thirteenth studio album, Mother Nature’. It includes previously released singles, “Dignity” and “Africa, One of a Kind,” featuring Yemi Alade and Mr Eazi, respectively. The album also houses eleven new songs, with guest appearances from Burna Boy, Sampa the Great, EARTHGANG’s Olú, and more. Here are a few takeaways from the album on the first few listens.

Less reimagining, more originals

Angelique Kidjo’s last two albums were cover projects—with a twist. In 2018, she reimagined Remain in Light, the classic album by British Rock band Talking Heads. Released in 1980 and produced by Brian Eno, a self-proclaimed Fela admirer, the album was partly inspired by Afrobeat and African rhythms, an influence Ms. Kidjo excavates and puts on full display on her cover album of the same title. The next year, she followed with the Grammy-winning Celia, a compilation of cover songs by legendary salsa singer Celia Cruz, also heightening the African influences that were a part of the Cuban trailblazer’s music.

On Mother Nature’, however, Ms. Kidjo is almost entirely back to curating “new” music. The only pseudo-cover track on the album is “Africa, One of a Kind,” the pre-released single which heavily samples “Africa” by Salif Keita, and features Mr Eazi and the Malian legend himself. At that, Kel P’s production is masterful enough to stand out, even though the song doesn’t entirely escape the shadow of its source material. Generally speaking, the musical choices on the album are constantly stellar, piecing together an eclectic fabric with threads from Afropop, Folk, EDM, Hip-Hop, Afrobeat, and more. With about a dozen contributors behind the boards—a transatlantic cast that includes James Poyser, Rexxie, Kel P, Blue Lab Beats and more—Mother Nature’ benefits from Angelique Kidjo’s preference for collaboration.

A voice for the ages remains commanding as ever

There’s no mistaking the distinct timbre of Angelique Kidjo’s voice. With a long line of highly ubiquitous songs, including “Wombo Lombo,” “We We” and “Agolo,” the Beninese singer has one of the most recognisable voices in African music till date. It’s one of those voices that can equally squeal and bellow, and in the same breath send chills down your spine and shake the very foundation of a room. Her voice is still in premium shape on her latest offering, serving as a commanding force with a singular edge in both visceral appeal and clarity.

On the bracing title track, she sings over Kel P’s thrumming bassline with an encouraging emphasis that keeps the song’s messaging from being overbearing. For the most part, she leans into the refined power of her singing, and she’s able to perfectly project whatever emotion is required. On “Omon Oba,” arguably the best song on the album, she conveys pure, unadulterated joy in being of African heritage, which she believes is inherently royal. The Burna Boy-assisted “Do Yourself” is primarily led by the Nigerian singer, but it’s Ms. Kidjo’s blaring backup vocals that pushes the song into unforgettable territory—an example of how magnetic she is on an album with multiple visiting voices.

In conversation with a younger generation of Africans

Guest features were never a predominant part of Angelique Kidjo’s albums. While she’s always been highly collaborative on the musical side, Ms. Kidjo’s voice is almost always the exclusive vocal component, except in the rare cases that include Alicia Keys, John Legend, Diane Reeves, and a handful of others. She breaks the mold on Mother Nature’, which features a whopping 11 vocal guests, comprising African artists and a few from the diaspora. Throughout the album, she merges quite strongly with her guests, all—except Salif Keita—of whom are from a younger generation.

In the album’s Apple Music liner notes, she’s quoted as saying: “You don’t invite somebody to have dinner with you to tell them, ‘You can’t do this. You can’t eat that now.’ You offer the food and they do what they want with it.” That ethos greatly benefits the collaborative efforts on Mother Nature’, taking account of the featured artists’ strengths without dampening Ms. Kidjo’s essence. Inspired by last October’s End SARS protests, defiant lead single “Dignity” is a Yemi Alade duet that finds both singers snapping at societal injustices and proffering a solution with the popular adage, “Respect is reciprocal.” On “Omon Oba,” she’s joined by Beninese singers Zeynab and Lionel Loueke, who are in harmony with her elation.

The collaborations are as much about complementing, as they are about contrasting. Zimbabwean-American singer Shugundzo appear on two tracks, the acoustic intro song “Choose Love” and streaking EDM cut “Meant for Me,” her wispy voice adding subtle yet profound embellishments to Ms. Kidjo’s resounding singing. On the romance-themed “Take it or Leave it,” Olú, one-half of Dreamville’s Earthgang, adds an enthusiastic rap verse. Zambian-born Sampa the Great joins the proselytising of “Free & Equal,” putting in a typically stellar shift that exemplifies just how much of a generational conversation Mother Nature is.

Continued optimism for a pan-African Utopia

Even with her global acclaim, Angelique Kidjo’s commitment to Africa is unquestionable. In 1983, she was forced into political exile due to her stance against a brutal, Marxist-Leninist regime, a true marker of how long she’s been committed to social justice. Nearly four decades later, and there hasn’t been any drastic positive change. Instead of being embittered or coming across as jaded by the lack of change, Mother Nature indicates a renewed hope in Africa from Ms. Kidjo. Throughout the album, she sings like the only acceptable outcome is a continent that will be enabling to all of its inhabitants, rather than the select few that continue to gain at the expense of the few.

On the penultimate song, “One Africa (Independence Cha-Cha),” she invokes the memories of Thomas Sankara, Kwame Nkrumah, Patrice Lumumba and Nelson Mandela, all pan-African icons for their dedication to making their countries—and the entire continent—better places, until their deaths. As much as it’s a cry for help, the song is also a prayer for the emergence of similar-minded leaders for the current generation of youth and those coming after them. Mother Nature’ is wilful in its belief, which makes the preachy passages come across as invigorating, and the admonishments on songs like “Choose Love” and “Mother Nature” feel like the warm advice of a caring aunt.

Listen to Mother Nature here.


@dennisadepeter is a staff writer at the NATIVE.


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Best New Music: Olamide’s “Need For Speed” is an undeniable testament of growth

Over the weekend, Olamide released his ninth studio album and his eleventh project in over a decade of his chart-topping career. ‘UY Scuti’, the swift follow-up to last year’s genre-mashing ‘Carpe Diem’ served as another well-defined piece in his artistic mosaic. Over 10-tracks, the rapper switches his gruff rap style and radio-ready hits for a softer, more melodic flow, this time delivering pop staples that will linger on minds long after hearing them.

There’s no denying that Olamide’s legacy ranks amongst the most powerful in this current climate and ‘UY Scuti’ is an effortless show of this veteran finesse. The album takes its name from the largest-known star in our universe — a statement by Olamide on where he sees himself currently and a marker of where he’s still yet to go. With help from a talented spate of collaborators and producers, together, they deliver an incredible taster of songs that accurately capture his growth over his decade-long career in the game.

Speaking to Apple Music at the time of the album’s release, the singer shared, “I’m a citizen of the world now, so my choice of sound is a combination of all the beautiful music I’ve heard. This is a full-time pop album, and it’s way above everything I’ve ever done,” and that’s certainly what we are hearing in the music now. A celebratory hitmaker moving the needle on his creative output yet again and widening the scope of his ability, despite his veteran status.

 

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Olamide is certainly eons away from the Bariga boy he once was, surviving day to day and plotting his way out of the ghetto. Today, he’s one of Afropop most revered hitmakers, with a dynamic record label that has kickstarted and boosted the careers of artists such as Lil Kesh, Adekunle Gold, Davolee, Lyta, Fireboy DML and more.

On ‘UY Scuti’, Olamide sounds at his most relaxed. The street poet delivers a mix of pop-leaning R&B laced with a range of other genres from Afropop to Reggae, and more. While he expertly affords his collaborators such as Fave and Layydoe the space to take centre stage on “Pon Pon” and “Rough Up” respectively, it’s the album’s opener “Need For Speed” that’s an instant standout and sets the pace for the entire album.

Set in Lagos, Olamide paints a vivid picture of every ghetto kid with a dream to make it in life. Over warm keys and an array of ambient melodies, he sings “Hustle gat me high steady grinding for the doe/Destination far time is flying no be small/Trying to chase my dreams Lagos traffic make it slow,” visualising the mind of the average Nigerian with a dream. Olamide tells listeners that he was once on the bitter end of the stick, dreaming every day of the fast life like those in the cars he saw around Lagos, bidding his time till he became a star.

However, as he’s grown older, become wiser and made all the doe he possibly could, he realises the hypocrisy of life and witnesses a full-circle moment: he’s become the rich, detached individual speeding in the fast car. “I saw myself speeding and I did the same thing for Lagos Island one day/People worship money but we pray to God no be so,” he quips on the next verse, deeply regretful of his actions but armed with an understanding of the ever-changing dynamics of life. It’s almost bittersweet and a reminder that we can also be villains in someone else’s story. Olamide turns inwards, assuring listeners that they don’t have to rush to their dreams while reminding them of the world’s failures and potentials. He holds a mirror to his current reality and ours, reminding us to be empathetic no matter the side of the puddle we land on.

“Need For Speed” definitely encapsulates the premise for the remainder of the album. The need to slow down, let go of the excess and focus on playing the long game to victory. And if there’s anyone who knows a thing or two about bidding one’s time, betting on yourself, providing for people around you and playing the long game, it’s Olamide—an artist who’s upped the ante at every step of his career and carved out a space for himself and others after him.

Stream ‘UY Scuti’ below.

Featured image/Emmyshotz


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The Best Projects of 2021, So Far

With the COVID-19 vaccine in circulation, “fully-vaccinated” captions popping up across regions, the midway mark of this year is one the world has been keenly anticipating since the coronavirus forced us into a global lockdown. Summer is here and this year it’s the closest thing to normal we’ve felt in a while; travel plans are being renewed, club nights have been reloaded and the music that accompanies these ventures is as good as ever.

Last year, we were treated to albums from Africa’s most prolific stars, from Burna Boy and Davido to Kazba de Small, Nasty C – even Wizkid finally dropped the long-teased ‘Made in Lagos‘. Though the second half of last year would seem a hard act to follow, the first half of this year has been an exciting one too, by way of releases. Kazba De Small returned alongside DJ Maphorisa and Tresor; Mavin debuted another self-proclaimed Ayra Starr; Tony Allen, Femi Kuti and Made Kuti made a showing for Afrobeat in the contemporary sphere; and Sarz teamed up with Lojay to do what he does best: empowering artists through his outstanding production prowess.

Nearing 2021’s halfway mark now is as good a time as any to reflect on the music we’ve been blessed with so far this year, and commemorate the works of art that have stood out as top of the class, despite the rife competition these days. With a strong showing for African Hip-Hop, including After Dark by Skillz8Figure – who appeared in our top 20 best albums of the previous year –Blxckie’s B4NOW and more, here are The NATIVE‘s top ten projects released in 2021, so far.

10. After Dark – Skillz 8Figure

After featuring on our end-of-year lists the previous calendar year for his charming debut ‘Gangsta Luv’, Skillz 8Figure returns this year with its glittering follow-up ‘After Dark’, a project that further cements his capabilities as a pop star. Over the 8-track project, the Ghana-via-Sierra Leonean singer curates catchy melodies that play into Afropop conventions and linger on the lips for hours after. While he’s able to effortlessly pair his silky vocals with the groovy familiar productions on solo tracks such as “Sempe” and “Julie”, Skillz 8Figure never loses any momentum on the project’s features, bringing each player from Psycho YP to Oxlade and Twitch 4EVA seamlessly into his romantic and lustful world. As he continues to build his discography and improve his craft, it’s clear that Skillz 8Figure has the right ingredients for wider success and is well on the way to the next stage in the evolution of his artistry.

9. Ayra Starr – Ayra Starr

At the start of the year, Mavin unveiled their latest jewel—Ayra Starr, the 18-year-old with a voice of gold. Her introduction to the scene came hot and heavy with the release of her confident self-titled EP, a 5-tracker that finds her singing empathically about life, love, self-discovery, and sexuality all from a Gen Z perspective. Standout tracks “Away” and “Ditr” are filled with fierce reflections of her experience as a young African woman, a sentiment that feels like the driving force of her current creative output. Her videos were vibrant and colourful, her looks cool and modern and her lyrics poignant and relatable, she was the complete pop girl package. While comparisons were once rife between the singer and other young female acts such as Tems, Arya Starr has managed to stay clear of the haters and keep the focus on what’s really important—the music. The newcomer continues to carve out her own distinct lane in the game by showcasing her powerful, soulful vocals and her diverse musical influences and connecting with a new generation of listeners through apps such as TikTok. Mavin has got another one in the bag.

8. Yaadman Kingsize – Yung L

Yaadman Kingsize is the best project of Yung L’s career, so far. Before its release in the early days of the year, the Jos-raised singer conferred the same honour on his sophomore LP, and it’s impossible to disagree. Lasting just under the half-hour mark, Yaadman Kingsize pulls and wastes no punches, a succinct and captivating depiction of Yung L’s multidimensional personality as a hedonistic gentleman, serial peace seeker, and socio-political observer. Representing the ever-tightening bond between Afropop and Caribbean Pop, the sonic palette on the album is tastefully curated, often minimally populated but always brightly textured. Yaadman Kingsize ranges from stomping and seductive Dancehall cuts to Afrobeat-inspired bops, coming together as a strong showcase of Yung L’s riveting lyricism and high-grade songwriting abilities.

7. There Is No End – Tony Allen

When Toni Allen passed at 79 in April 2020, the entire music world united to mourn the passing of one of the most gifted music minds of the 20th century. Together with Fela Anikulapo-Kuti, Allen pioneered the firebrand amalgam of jazz, funk, and soul music that became afrobeat. While Fela supplied the invective-laden lyricism and conceptual direction for Africa ‘70, Allen’s percussion and innate talent of rhythmicity provided the base for the grooving musicality that the band came to be known for. A month before his passing, the icon had released Rejoice, a long anticipated full-length with famous trumpeter and anti-apartheid activist, Hugh Masakela. On the afrobeat-jazz hybrid album, both musicians united the spirit of both genres as Allen provided polyrhythmic drum loops and Masakela responded on his flugelhorn with splaterrings of delicate yelps and choruses.

If Rejoice was a dedication to the genres that they helped define, There is no End is Allen’s manifesto to the future as he collaborates with a number of modern artists and spreads the breadth of afrobeat to accommodate their art. Allen’s post-Africa ‘70 years were characterized by free-spirited collaboration with a roll call of artists from across the globe, but even then, those collaborations often saw the musicians orbit their joint galaxies. On There is no End, the old master creates new conversations with artists like the Zambian-born-Australian hip-hop artist, Sampa The Great (“Stumbling Down”) and grime great Skepta in tandem with celebrated poet, Ben Okri (“Cosmosis”). There is an abiding sense of urgency in the calming grooves of “Deer In Headlights”, a collaboration with rapper Danny Brown and a grungy warmth in Nate Bone’s unhurried verses on “Hurt Your Soul”. At the time of his death, Allen had worked on more than 40 albums, perfecting fusions and breaking down boundaries in music with his knack for powerful compositions and with There is no End, the legend caters to the evolving taste of a new generation and shows that there will be no end to the potency of Afrobeat music.

6. Rumble in the Jungle – Kabza De Small, DJ Maphorisa & Tresor

The concept of time is fluid within the bounds of South African-born genre Amapiano. With tracks extending as long as nine minutes, its creators focus on ensuring that its wavy basslines and gorgeous piano chords disrupt time’s relativity, and as much of sub-Saharan Africa fell into the ennui and routine of COVID-19 lockdown last year, the genre surged to popularity, soundtracking long days and even longer night. The Scorpion King’s Once Upon A Time In Lockdown provided a sense of comfort and intimacy for many going through the lockdown without such comforts at precisely the time when it was most needed, while Kabza Da Small’s unsinkable I Am The King of Amapiano: Sweet and Dust was a lap of honour for the Amapiano popularizer at the precise moment the genre was primed for global popularity. Not one to rest on their laurels, the super-producer duo returned with another addition to their swelling oeuvre in April.

Twenty minutes short of two hours, they attempt to create an album that pays homage to the pan-African ethos while remaining Amapiano-centric in its layout and execution on Rumble In The Jungle. Congolese-born singer, Tresor, joins the Scorpion King for the full stretch of the set here, with his lithe voice serving as a sonic map of where the duo’s homages are geared towards. The fluid percussion arrangements and lived-in grooves of Amapiano’s house influence are sometimes swapped for a more staccato delivery on songs like “La Vie Est Belle” and “Mali Mali” that makes this an album more accessible to people across the continent, but on songs like “Dust In The Wind” and “Starry Nights” they offer effervescent reminders of their cool brilliance. In tandem with the producer duo for the entirety of the album, Tresor coaxes delightful pockets of melodies on songs like “Folasade” and “Neriya” while proving himself capable of owning the bright lights on “Love Like A Weapon”. As prolific as they are prodigious, Rumble In The Jungle saw Amapiano’s foremost pairing take ownership of the genre and provide a template for its cross-continental co-option.

5. No ZZZ2 – Zilla Oaks

With relation to its bustling, no frills prequel, NO ZZZ2 is a purposeful expansion of Zilla Oaks’ astonishing skill-set as a rap artist. In the near three years since his previous solo project, the Abuja-based rapper has done some growing, palpable in his spree of feature verses and loose single, and far more evident on his latest tape. NO ZZZ2 is an exciting distillation of Zilla at a new peak, a commanding set with diversity in its musical choices and overall approach. There’s a blaring, spine-tingling intro, a Trap meets Afropop banger, a bar-fest laden with quotable raps, and scene-stealing features that makes proceedings even more fascinating. Even with the emphasis on his versatility, Zilla proves himself to be a singular talent with a sky-high technical ceiling.

4. For(e)ward – Made Kuti

What do you do when you’re attached to a revered musical lineage? For Made Anikulapo-Kuti, the answer was simple: Throw down your own gauntlet. For(e)ward, Made’s debut album is a dazzling and distinct entry into the storied canon of Afrobeat, the genre pioneered by his grandfather and furthered by his father Femi and uncle Seun. Released as one side of Legacy+, the double-sided compilation with Femi’s Stop the Hate on the other side, For(e)ward situates Made as the ideal progressive auteur for Afrobeat. On an album where he plays every single instrument, Made leans into his intuition as an experimental musician, gathering the multiple threads of the genre and piecing it together into his own unique fabric. In there, he offers meditative mantras and deeply thoughtful commentary, sung in his affecting baritone and sometimes spoken with preternatural clarity.

3. Trouble in Paradise – Shekhinah

Trouble in Paradise‘ is Durban singer Shekhina’s long-overdue sophomore album. Four years apart, ‘Trouble in Paradise’ is an album reflective of Shekhinah’s journey through adulthood so far, soulful and sorrowful documentation of how she has handled the intensification of all life’s problems as responsibilities grow. Primarily addressing the battlefield that is growing up through relatable stories of love – both of the self, and of romantic partners – Shekhinah immerses listeners in her vocal diary, with mesmeric soulful vocals that float atop of mystic productions, as heard on the album’s first track, “Tides” and sustained throughout the record. Heavy on the water-based idioms, “Tides” is followed by a fluid album ripe with supple dexterity, and and an encyclopedic yield. R&B cuts such as “Fixate” and “Diamonds Do”, show a proficient understanding of the genre’s multiple iterations, whilst more experimental productions, found on the meditative “Wedding Song” or the loosely-structured “Fall Apart” flaunt Shekhinah’s venturous audacity with music-making.

Sonically, this album is a delight, lyrically it is a bittersweet treat that touches our most intimate musings, but brings this troublesome thought to the fore. Where ‘Trouble in Paradise‘ truly soars, however, is how Shekhinah wields and intersects these aspects to illustrate the complexity of adult emotions with divinatory accuracy. Throughout this series of love tragedies, Shekhinah’s vulnerable lyrics are titrated into energetic yet soft-toned songs that wholesomely depict the confusion and non-linear reality of heartbreak and issues of self-worth. At times the world is bleak and the mood is low, as we dwell, but even in our sad states, excitable moments creep in, whether its the good memories that feel as present as the show-stealing horns on “Miserable” or incidents of pride an achievement that have us feeling our the groove that leads “Insecure” despite us feeling just that. Concluding the project with a mirror monologue that scolds herself and affirms herself at the same time, Shekhinah bids farewell to the things that make her cry, the stories and experience that tie this project together. It is an intentional ending to her journal of the trouble she found in paradise, a purposeful farewell that reiterates the depth of Shekhinah’s craft throughout this project.

2. LV N ATTN – Lojay & Sarz

It may seem too early to have newcomer Lojay and skilled beatsmith, Sarz’s joint project ‘LV N ATTN’ on any mid-year list but just one listen will have you running it back to catch all the intricacies and melodies that the duo have to offer. Promotional single and project opener “Tonongo” is a slinky Afropop number that finds Lojay quipping about his love for women with a hazy baritone imploring her to whine to the beat of the song. In fact, melodies are front and centre of everything this project has to offer, veering through a cocktail of sounds from Amapiano on numbers like “Monalisa” to Dancehall, Afropop and more—all deliberately intended to amplify the candor of their passion. Their peak synergy and star power make the project an event, however, nothing usurps the guest appearance of Wizkid on the EP’s titular track. Not only is the Afropop singer’s influence felt heavily throughout the entire project through Lojay’s use of vocal trickery in his singing but his inclusion almost becomes a legitimising co-sign of Lojay’s undeniable star power. Rarely does an artist break into the mainstream with the help of two of Afropop’s most famed names while holding their own weight and putting on a self-determined showcase. Lojay is definitely an artist who has a lot more to say but till then, this potent re-introduction would have to suffice.

1. B4NOW – Blxckie

Opening with a capella takes, “Mama It’s Bad”, Blxckie wastes no time raising the bar for contemporary rap on the continent. Over a simple piano-led beat Blxckie introduces the melodic flow that will accompany his cocksure lyricism flaunted on this track as apparent throughout the tape. As is customary in the rap game, B4NOW embodies bravado; from his cool countenance and style to the fan attention he commands, from jealous opps to testimonies of how he came up from the trenches to trophies, on B4NOW, Blxckie brags about the enviable life Hip-Hop success has bestowed upon him.

When the music doesn’t slap, this trope becomes cringe and forced; listeners question “really?” when these arrogant bars aren’t supported by quality music. But these pitfalls aren’t anywhere near Blackie’s radar. This album is an evidence sheet of everything Blxckie boasts of, you don’t need to look any further to see that like David, this rising star has overcome the Goliath music industry that bullies most unorthodox talents into submission. When Blxckie brags about the fanfare surrounding him on tracks from “Hut” to Big Time Sh’lapppa”, there is no doubt of it. Two standout tracks on the project, where “Hut” is a melodic rap cut ripe with skilled similes, Big Time Sh’lapppa” opens up a sequence of high-pitched spoken delivery that emphasises Blxckie’s prowess in a number of Rap styles, particularly juxtaposed with the R&B take preceding it, “Hold”. Given an affectionate length of five minutes, “Hold” is the track to exemplify the diversity of B4NOW – by all means a Hip-Hop album through and through. Its song length contrasts records shorter than two minutes, its sonic make-up augments the album with sounds from R&B music where House was earlier represented on the number before it, “Sika”, as he passionately and vulnerably sings to a partner for love, “Hold” depicts the multiplicity of the artist with charming and relatable flair.

Tying this album together is Blxckie’s delectable sung flow. Though not apparent on every song, for example, “Gas”, or “Steppin” opt for more aggressive showings, opening with a melody-led take and closing in a similar fashion on “Tall”, Blxckie puts his best foot forward throughout this album, booting all competition out of the way. As the year goes on, these are going to be difficult shoes to fill – for every artist for Blxckie. As he says on “Uppity”, with the most real line of the year: “My hardest song is um.. Well I don’t know cos I haven’t made it yet.


Words by Adewojumi Aderemi, Dennis Ade-Peter, Tami Makinde and Wale Oloworekende


ICYMI: READ OUR RANKED LIST OF THE BEST ALBUMS OF 2020

TurnTable Top 50: Olamide’s “Rock” returns to No.1

Following the release of his album, ‘UY Scuti’, Olamide’s “Rock” has returned to number one after reaching the summit two weeks ago. “Rock” drew 36.12 million in radio airplay impressions, 10.75 million in TV reach, and 1.73 million equivalent streams. It is the third song to reach the summit of the chart in two different stints, having first hit No. 1 on the Top 50 on the chart dated May 31, 2021.

Ladipoe & Buju’s “Feeling” slides from number one to two after topping the chart for two consecutive weeks. The balmy summer anthem leads this week’s radio and streaming chart with 40.3 million in radio airplay and 1.91 million equivalent streams respectively. It drew 2.95 million in TV airplay impressions.

Burna Boy’s former No. 1 “Kilometre” is steady at number three while wunderkind, Rema, debuts at number four with his latest single, “Soundgasm”. The London-produced single received 1.05 million equivalent streams, 31.3 million in radio reach and 100,000 in TV reach. It also matches the number four peak of “Bounce” to become the artist’s joint highest-charting single on the chart.

Jonzing World’s Ruger’s “Bounce” jumps to No. 5 with 6.9 million in TV reach, 32 million in radio reach, and 345,000 equivalent streams. It is the artist’s first top-five entry on the chart. Wizkid’s summertime hit, “Essence,” featuring Tems, holds at number six while Blaqbonez’s “Bling” with Amaarae and Buju slides from number four to seven. The only non-Nigerian song in the top ten is Justin Bieber’s “Peaches” featuring Daniel Caesar and Giveon, returning to the top ten at number eight.

Rounding out this week’s top ten of the Top 50, Joeboy’s “Show Me” is steady at its number nine peak while Adekunle Gold’s “It Is What It Is” falls from number seven to ten.

You can view the full breakdown here.

[Featured image: Instagram/EmmanuelSoyombo]

“I represent the possibilities of rap music in Nigeria”: An Interview with Zilla Oaks

Zilla Oaks’ confidence in his skill-set as a rap artist is unshakeable. Falling in love with the art of penning and spitting bars about a decade ago, Zilla has been sharpening his abilities for quite some time. He’s deep into the proverbial 10,000 hours required for mastery, a fact he’s well-aware of and isn’t afraid to give himself props for. “People tend to underrate me,” the Abuja-based lyricist tells me over the phone on a Tuesday evening, “but I know what I can do so I just keep doing my best.”

In 2016, Zilla dropped his debut EP, ‘NE:GRO’, one of the first projects to properly capture the possibilities of Nigerian (rap) artists successfully adopting Trap, the Hip-Hop subgenre that had grown into dominance in the years prior. This was the time where SoundCloud was the safe haven for young artists making and releasing music that didn’t necessarily fit into mainstream Afropop conventions, a befitting time for the release of ‘NE:GRO’, an impressive Trap tape that still holds up till date and foreshadows the style’s increased spread. On the album, you can also hear Zilla trying to reconcile his Nigerian roots with his multi-cultural upbringing, which now forms a definitive part of his approach to making rap music.

“Not a lot of people know that I was born in Lagos and after a few years, my family moved to the U.S.” Zilla explains of his background. “We stayed in the U.S. for like nine years and we moved to the UK for like five years, so the rap culture has been embedded in me from time.” The effect of that early exposure is evident on his new sophomore full-length LP, No ZZZ2. On the project, Zilla hopscotches between varying styles to project the portrait of a rap artist in full artistic bloom. It’s a wonderful intersection between bars and vibes, a lyrical offering that is in tune with the modern trends of rap music from Abuja to London to Atlanta.

No ZZZ, the 2018 prequel, was a strong statement with a tunnel vision focus on delivering hard-nosed Trap cuts and telling listeners of the obsession with his grind. Exhibiting a lot more growth, No ZZZ 2 finds Zilla embracing range, both in thematic concerns and in musical choices. The intro song, “Dirt,” is uninhibited chest-beating over brash, cinematic production, “Vibez on Vibez” folds Afropop and Trap into a festive bop, AYÜÜ-assisted “Bussdown” has its roots in Roadman Rap, while “Yuu” flaunts a lesser-seen but compelling tender side.

Fitting all these sonic choices into a 53-minute set, the project is neither scattershot nor remotely winding. Even with a fair bit of stellar guest appearances, Zilla stays the main attraction, tying all the colourful threads into a vibrant and captivating whole. He’s dropped his best project yet—and one of the better rap albums of this sprinting year—but in true self-confident fashion, he’s “aiming to take it higher” very soon.

Our conversation with Zilla Oaks follows below, and it has been lightly edited for clarity.

NATIVE: How did you get into rapping?

Zilla Oaks: I started rapping from, let’s say, 2011. Ever since I put out my first song, I’ve always felt like, ‘yo, I’m good at this thing.’ I first started recording with Tay Iwar, he was on the R&B side and he used to produce stuff for me. I met his older brother, Suté, and we just built this rapper-to-rapper relationship. I was highly affiliated with Bantu, Sute and I had a couple of songs, they helped me out with my first project, NE:GRO, they had a lot of production credits on that and ever since then it’s been madness.

I consider NE:GRO to be an important tape for Trap music in Nigeria because it preceded a lot of things. Do you think so?

Yeah, because I was one of the first to do it on that level. It makes me a pioneer and it makes me happy to know that a lot of people are now on this wave, a lot of people are listening and can express themselves in this way. It gives me confidence that Africans are going to take this genre higher, it’s just a matter of time.

How were you able to adopt that before a lot of rap artists in Nigeria?

Well, the thing is, not a lot of people know that I was born in Lagos and after a few years, my family moved to the U.S. We stayed in the U.S. for like nine years and we moved to the UK for like five years, so the rap culture has been embedded in me from time. It’s not like I just came and started rapping or having in these accents in these rap songs, or sounding like I’m from New York or even when I chat Grime and sound British. These are all parts of my life. Even though I have a couple of Afrobeats songs, it’s easy for me to get in the booth and rap rap, that’s why I was quickly comfortable on that Trap vibe.

I like that you mentioned being a pioneer, it’s just symbolic of how self-convinced you are, even in your tweets.

Well, a lot of people will say I brag a lot, I’m feeling myself and whatever. It’s just the confidence. All my favourite rappers are confident and cocky, so it’s part of the rap game. I’m not riding on any specific trends, I’ve just worked on my craft to the point where I’m very confident in myself.

Speaking of your upbringing, how does your assimilation of these different rap cultures play into your creative process?

For me, it’s just about making shit that’s mind-blowing. I can make five records in a week and I might like only two, I can play the five for my guys and they’d like the other ones. It’s just that Mamba mentality, like greatness only. There are days when it’s like war, where I can’t even bang out one track, that’s when I step back, listen to more music, get more inspiration then go back and rap. That’s it.

Since you record so much, how did you know you were making No ZZZ2?

It was putting out No ZZZ and I knew I wanted to have a sequel because many rappers have this thing with following their albums with new parts. No ZZZ made a statement and I wanted to continue that, but the thing with that tape is it’s basically all about grinding, don’t be on your snoozing level and all of that. So, it was just me making tracks that could fit into that mood but also pushing myself further. After 2018, I was just recording a lot, like a hundred songs between 2019 and 2020, so it was just about picking and putting the best ones together and that was it.

Corona also helped me out, ‘cos that period was just dry. I left my mum’s house, started renting Airbnb’s, apartments, hotels and recording in these places, that’s when I knew I was working an album that was going to be ready. It’s like when Kanye and Jay-Z were traveling to record [Watch the Throne], it was just that type of vibe. The same thing kinda happened when Apex was making Welcome to the Ville, we were all in Nigeria that time, knocking out records in the same place and then picking for the final cut later. That’s basically the process for us.

Great that you mentioned the Apex compilation because I’m sure a lot of people would like a sequel.

Definitely. In fact, the songs we’ve recorded for Welcome to the Ville 2 are crazy! It’s just like watching the whole Marvel universe grow and assembly, we’re making better music, we’re having more experiences, everyone is evolving, everyone is in their bag. It’s just great.

From Bantu to Apex Village, how did that happen?

The Bantu situation was more of an affiliation and family, and at the time, I’m not sure if we sure of their structure but they were clearly building something. The Apex thing just happened based on the facts that me and my guys—that’s [Psycho] YP, Marv [OTM]—were mostly located in Gwarimpa in Abuja. We just found that we’re always linking up, always making music, and we were just like, “hey, let’s just form a collective.” We have artists, we have photographers, we have videographers, so it’s a family-type thing and we’re moving at everyone’s pace.

No ZZZ2 is much more musically diverse than your last, what would you say you represent right now with this project?

Right now, I represent the possibilities of rap music in Nigeria, and I’m aiming to take it higher. No ZZZ2 was a bar I had to personally set, to top everything I’ve done yet. It’s just me putting out more of who I am, letting everybody know my pain, my confidence, my endeavours, and more. When people listen to Rap and Trap these days, it’s more braggadocio than storytelling, which is something I do but I put a little more thought into all of it so people can know that Zilla Oaks and his gang are very much on top right now.

The tape has several really good features, but which one would’ve made you flip a table? For my money, I’d say D-O’s verse on “Ogini” because that shit is crazy!

Yo! Yo! Yo! D-O’s verse has to be number one for me, too. D-O showed me nothing but love, man. He gave me a verse and also the hook on “No Conversate,” and what he did on “Ogini” was mind-blowing. Many people don’t really look at D-O as a rapper, but you check the lyrics and he’s absolutely going off. He’s talking about living in bondage in Nigeria, coming up in Port Harcourt and Lagos, grinding every day, and more stuff—like he’s a badass rapper. I’d heard him on Blaqbonez’s “Nikes” and I remember thinking that I had to tap in with him immediately before shit gets too late, so I DMed him to shoot my shot and now when he comes to Abuja we link up, which is basically what happed with “No Conversate.”

For “Ogini,” I was chasing Prettyboy for like six months. Dremo sent me his verse in like two months, and I’d played him the song in the studio—he’s always in the studio—when I was in Lagos. There was another time I played the song for Telz and Damayo, they were like, “D-O, you have to do this. You have to hop on this.” That’s how it all happened, and he hit me back with that crazy verse.

You also have a reputation for killing features, that verse on Alpha Ojini’s “Pop II” is nuts.

Yeah. Alpha sent me that track at night around like 8 pm and I wrote that verse almost immediately. I always time myself when I’m writing, if I’m taking more than three minutes to come up with stuff I’ll just go open Twitter and tweet some shit. The vibe was there, my guys and I were already jamming to the original “Pop”, so when Alpha sent me that I was like, “yo, major win.” For me, when I get that excited like that is when the bars come out, so I opened my notes, wrote in like ten to twenty minutes, recorded and sent it back to him.

Artists would kill for that type of feature verses.

Yeah, and that’s my mentality with features, especially last year when I was just about working on my project for this year, so I took a lot of features during that time like my personal projects.

Earlier, you mentioned a positive representation of rap music in Nigerian, which can be difficult to do due to perceptions. What do you think needs to improve for our rap music to be a bigger deal?

I feel like a lot of good things are already happening, people are already coming from outside and looking at us. The other day, [UK rap star] Backroad Gee was on Twitter the other day asking for the hardest Drillers in Nigeria, and a lot of people mentioned me. Next thing, Backroad Gee DMs me to check his last tweet and send him something, he wanted artists to put their verses on a potential remix of his song, “A Yo”. That got me excited and, bro, I went hard!

Yeah, I heard the snippet you posted.

Yeah, man. Basically, we just need people who care about rap, people who have the infrastructure and the resources, just to help strengthen the foundation and everything will fall into place. So, I’d say Apex Village is one of the more structured collectives around, and we’re doing okay for ourselves, but if you give us more infrastructures, more platforms to amplify our songs, trust me the rap thing will grow by a lot. People don’t pay attention to rappers till they see that glory, that shine. Migos came to Nigeria back in 2017, and before then a lot of people used to be like, “you guys are listening to Migos, the mumble rappers.” Migos were in Lagos, they sold out that show and everyone in there was shouting their lyrics word for word, and some of them in there would’ve been part of those saying those mumble rapper things. All we have to do is figure out how to step and stay in the limelight, and at Apex Village, we’re not waiting for anybody to do that for us.

When I spoke to YP for NATIVE’s Issue 004, he flat out told me that moving to Lagos was a NO for him. Are you also an Abuja guy till the end?

Firstly, there’s a lot of structures in Lagos that we know we have to tap into, so we know if we’re going to Lagos it’s going to be for a week. It’s to get an apartment, go to MTV Base today, go to Trace tomorrow, go to another place the next day, and we know all of these places are not in Abuja. See, we can operate from Abj and do the frequent in-and-out of Lagos. It’s not like it’s hard, we’re in Lagos every few months for shows and other stuff, but I don’t see myself moving there even as I get bigger. I want to drive my Lambo without all that traffic, haha. YP will tell and I will tell you, it even shows in our analytics, it’s a lot of love for us in Lagos, anytime any day.


@dennisadepeter is a staff writer at the NATIVE.


NATIVE EXCLUSIVE: LADIPOE TALKS SELF-CONVICTION & PUSHING HIS ARTISTRY

The best and worst looks from this year’s Big Brother Naija Reunion

Big Brother is back once again. The reality show that once connected hearts and minds across the continent on the timeline is finally back again for Season 4’s highly anticipated reunion which officially kicked off last week. Once again, our screens are graced with the past season’s vibrant contestants including Nengi, Dorathy, Ozo, Laycon, and Kiddwaya, although the star of the show is visibly AWOL.

This year, however, there’s no denying that we’re all watching and consuming Big Brother Naija in a totally different way from how we have experienced past seasons. For the past two weeks, Nigerians have been banned from connecting and accessing Twitter on local networks and major wifi service providers across the country. Twitter—a social media app that has become a melting pot for ideas from around the world—was a big part of the way we consumed reality tv. From shows like Love Island, Too Handle to Handle and even Big Brother Naija, it’s taken on a life of its own; affording viewers the ability to watch alongside friends and acquaintances, so that you’re ever ready to join in each episodes’ bout of memes and jokes. Without Twitter, those real-time moments and reactions can never be instantly received.

There’s notably been a dearth of reactions to the current season on many timelines—save for the few able to access the social media platform via VPNs. However, if you’re looking closely enough, you’ll certainly have caught a glimpse of the fashion conversations the premiere episode sparked last week. Viewers debated on who came dressed to kill and who needed to fire their stylist ASAP. To this end, our creative assistant, Ada Nwafor is starting off a new mini-column where she’ll be taking you through the sartorial hits and misses of the week. Stay tuned for all the hot takes!

Episode One

Hits of the week

Nengi

A classic and chic look, you can never go wrong with a black dress and she definitely understood the assignment. It wasn’t over-embellished and accessorised.

Dorathy

The color was an amazing choice for such an elegant but yet sexy dress. Although I wish the skin-like net would have fit better with her skin shade. Loved that her bust didn’t look overpowering, it was just well sewn and put together. A big fan of the slit. 

Neo

The best for the men and even some women for sure. Great color, amazing double breast suit. The fabric isn’t quite common, but this was on a league of its own. You’d think he was the host, and not Ebuka.

 

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A post shared by Neo Mobor Akpofure (@neo_akpofure)

Miss of the week

Triky Tee

The worst thing about the outfit to me was the color. Not a good choice and the material didn’t make it any better.

 

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A post shared by Sinclair Timmy (@trikytee)

Lucy

It reminded me of power rangers with that overly exaggerated sleeve. The dangers of bright colors is that they show all the flaws and more. The fabric wasn’t bad, but I believe the cut and color worsened it. 

 

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A post shared by Lucy Edet Essien (@iamlucyedet)

Lilo

Puffed sleeves are not always a safe bet. The fabric made the dress so dull. The fit and styling weren’t any better. 

 

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A post shared by Lilo Aderogba (@liloaderogba)

Episode 2

Hit of the week

Nengi

Amazing colour and material choice fits like a glove, loved the fact that the hair was sleeked back and that’s how you do an exaggerated sleeve. Conservative yet very sexy and flattering.

Prince

I love that the tux fabric had subtle embellishments to it, and it wasn’t plain. The fit is everything. Black is always a classic.

Miss of the week

Lucy

I’m finding it really difficult to like anything about this outfit. It’s just horrible and looks like a child’s outfit for church. The colour combo was horrendous, from the styling to the hair and the purple ruffles just didn’t make sense.

 

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A post shared by Lucy Edet Essien (@iamlucyedet)

Tolani Baj

The suit wasn’t so bad but was extremely basic and it looked like she was going for a job interview/presentation. No effort or imagination. The fit wasn’t so great either.

 

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Episode 7

Hits of the week

 

Stay tuned!

Featured image credits/NATIVE

Wizkid & Skepta on being a father and a star

With one of our very own, Teezee recently joining the Dad Club, Father’s Day this year is a particularly poignant celebration for us here at The NATIVE. Honouring paternal bonds that have helped steer, support and supervise our lives, Sunday June 20 is the day dedicated to the father figures in our lives – whether they be biological fathers, older mentors, siblings and family members, or even mothers who did the parenting job of both.

Celebrated on the third Sunday in June, yearly– as declared in 1972 by American president Richard Nixon – in American histories, early iterations of Father’s Day include the daughter of a civil war veteran marking the day to honour her dad who raised six kids as a single parent, or before that a commemoration of the loss of hundreds of fathers and men who died in a mining accident on July 5, 1908. Across Africa, Father’s day is typically observed on the third Sunday of June, although some countries such as Mozambique – which celebrates Father’s Day on March 19 along with their former colonising nation Portugal – and Egypt (June 21) recognise different days.

This Father’s Day, NATIVE are joining in the festivities, hosting our Father’s Day Wellness Hub to offer the dad’s among us the respite they surely need.

NATIVE Presents WizMag: 4-Pack Deal £65

Back in November, fresh off the success of ‘Made In Lagos‘ which included another seamless collaboration between Wizkid and Skepta, the “Longtime” friends sat down for an exclusive interview to appear in Wizkid’s special edition WizMag. During this conversation, Skep and Wiz chopped it up with The NATIVE about everything from the evolution of their friendship, the youth-led EndSARS movement which had just reached its bitter conclusion at the time, and their favourite #MIL tracks. After all the career talk, Wizkid and Skepta were also keen to remind us why they do it all in the first place: their kids. Sharing earnest sentiments about fatherhood and the immeasurable impact having children has had on their respective lives and careers, to celebrate Father’s NATIVE are unveiling this exclusive segment from our Special Edition WizMag, guest edited by Wizkid himself. Read the extract below.

Tobi: From your perspective as a musician, how has fatherhood affected you, or changed the way you approach things, even creatively?

Skepta: I don’t know, it’s a game changer in so many ways but I feel like fatherhood reinforced what I already knew. You know, as Wiz is, we’re the kind of people that everyone around us is good, you know what I’m saying? If you come around us, you’re good. So, you know, when it’s your blood now, it’s just that extra special person to give your energy to. Before, I was a bit confused as to why everywhere I go, I’m “big bro.” Even people older than me would call me big bro. 

Wizkid chuckles

Skepta: How comes I keep taking on that position? But I get that [now]. We’re just blessed with that kind of energy and we’re always going to look after people because of the way we’ve grown up; it was hard. We come from mad places, if we can give to others, we will. So with the fatherhood ting now, it’s just a blessing in the sense that at least every time I step out of my house, if I’m staying in the studio till stupid o’clock, I can look and know that it’s for someone that’s my blood.

Wizkid: Facts

Skepta: It makes it worth it, man. It makes all the hours worth it.

Wizkid: Facts man, yeah. He’s said it all. I had my first child when I was 21, so I kind of had to be 30 years old immediately. Fatherhood just puts everything into perspective. We’re young, we’re all moving fast in a world where you’re just trying to create your own lane. You don’t really know where everything is going to go, so when your kid comes, you realise that this is the essence of everything, you know? From the first time I got that call that I was having my first son, I changed the way I move, the way I hustled. Everything changed. That was when I actually started putting everything together. Before, I was just all over the place – with niggas, in the studio, [in] hotels – mad life. But when you get a kid, that’s the blessing, it’s just in front of you. It helps you man; it changes you and everything.

Skepta: Obviously Wiz was a father before me innit. I remember when I was finally having my daughter – you can probably hear her in the back –  he just told me “you’ve got it.” You feel like when you have a child, it’s going to stop your money, it’s going to stop your swag, it’s going to stop the way you move. You worry that you’re going to turn into a parent, the same parent that you’ve had on your nerves this whole time. But I remember him telling me “you got it, you’re still going to be you, just a super-version of yourself.” That was one thing I remember, if we’re talking about advice, I remember him telling me “you got it.”

Wizkid: Yeah, I remember that conversation.

Skepta: Which was good to hear from a worldwide artist that’s a dad!

Wizkid laughs

Skepta: You get me, I’m like rah, this guy has got mad swag. If he can do it then I can definitely do it.

You can buy a copy of our WizMag, as well as posters and other merch via our shop.thenativemag.com, and sign up to our Father’s Day NATIVE Wellness Hub here.

Featured Image Credits: Elliot Simpson/NATIVE


ICYMI: CELEBRATE FATHER’S DAY WITH THE NATIVE WELLNESS HUB

Songs of the Day: New Music from Gyakie, ENNY, Psycho YP & more

Much as we’d like music drops to slow down and give us a chance to catch up with the unique tunes that are sprouting from across the world, the reality of the music business in the post-2010 era is very much different. With amazing songs dropping at an unrelenting pace, it’s not always easy to cut through the noise and sheer volume of it all to find the music that will accompany our melancholy, inspire our next creative breakthrough, tether us our loved ones more securely, or take us to a place of unencumbered elation.

That’s where our ‘Songs of the Day’ column comes in. We try to keep our fingers on the pulse of music from across the continent and beyond, bringing you exciting songs from talented musicians who are continuously trying to bounds of artistry with their music. Last weekend, we brought you new drops from Rema, Prettyboy D-O, Kida Kudz, Rexxie and more. Today’s roundup includes new drops from Ghanaian star Gyakie, British-Nigerian rapper ENNY, Nigerian rap star Psycho YP, South African production duo Black Motion, and much more. Enjoy.

Gyakie – “Whine”

On the back of the smash success of “Forever” and its Omah Lay-assisted remix, Gyakie emerged as a pan-African star. While majority of the attention has come from that big single, the Ghanaian singer is wasting no time in reeling in listeners who may not know that she has more songs. Off last year’s debut EP, Seed, she’s just dropped the music video for the next single, “Whine”. Produced by Yungd3mz, “Whine” is a sunny Afro-Caribbean bop that finds Gyakie in carefree, party girl mode. Giving the song new life as the summer of reopening enters full effect, the video is collage of Gyakie in eye-catching outfits singing and dancing, by herself and along with bevy of female dancers.

ENNY – “I Want”

Whether she’s speaking honest truths or offering much-needed solidarity, ENNY’s small but sizable catalogue pegs her as an artist who makes lived-in music. On her latest single, “I Want,” she’s in self-affirming mode, validating all her pertinent needs and seemingly trivial wants without a single care for what the world might think. “I’d like mental peace and 100 grand/and a peng ass babes and we’ll do up raves,” she raps over Paya’s upbeat production. In its new video, ENNY can be seen living it up in different settings, from a 9-5 in a diner to a semi-rowdy night out with friends.

Mas Musiq & Boohle – “Nguwe”

Mas Musiq has earned a reputation for making songs that land closer to the more soulful axis of the Amapiano spectrum. Shonamalanga, the stunning collaborative EP with singer Aymos, the two instalments of his Mambisa series, and his sprawling lists of production credits are irrefutable proof of his intuitive approach to the South African House subgenre. His latest single, “Nguwe,” continues that streak in fine fashion by combining groovy percussion, an array of gleaming keys and occasional synth breakdown. It also features singer Boohle, who switches between honeyed singing and expressive scatting.

Black Motion – “Xxikiwawa”

Across the duo’s sprawling discography, Black Motion’s mastery of the rhythmic essence of Afro-House is unmatched. Their last album, The Healers: The Last Chapter, is a 41-track odyssey that completes the spiritual arc they began with their debut album. Although it hints at new beginnings, their new single “Xxikiwawa” continues to showcase their powers at creating Tribal-inflected House Music, featuring Booming synths, vocal chant samples, sax synths, and echoing pianos. Fairly recent breakout star Lady Du takes vocal command of the track, rapping in isiZulu with her typical fervour, while Pholoso adds boisterous chants as the song’s infectious hook.

Psycho YP – “Euphoria”

Psycho YP’s sophomore mixtape, YPSZN 2, helped elevated his profile as one of the finest rap talents on the continent, earning him nominations at the Headies and last year’s South African Music Awards. Following the self-titled joint tape with Azanti, YP is getting to set to drop his next solo project, reportedly an EP even though there’s no publicly announced title or release date yet. Ahead of the project, he’s dropped the lead single “Euphoria,” a Trap banger with street-hop overtones. Co-produced by Ramoni and Jaylon, with background vocals from Azanti, “Euphoria” is, YP boasts of the well-earned fame and wealth he’s accrued since stepping into the game, berating doubters from the past and revelling in the ecstasy of living his dreams.

L.A.X & Davido – “Pepe”

L.A.X has made a habit of not going too long without delivering songs meant for widespread, club-ready rotation. Months after his sophomore album, Zaza Vibes, which spawned the hit songs “Sempe” and “Go Low,” the singer recently returned with “Pepe,” a Davido-assisted single where both singers brag of their desirability and deep pockets over Napjil’s summery instrumental. A few days back, the accompanying video for “Pepe” was released, and it captures the playful overconfidence the two singers projected on the song, via shots of them singing and dancing animatedly under multi-coloured lights and alongside video vixens.

Ibejii – “Gonto”

Ibejii’s brand of Afro-Soul excavates the depth of the Yoruba language and its maxims, in order to profoundly express the human experiences, especially as it concerns Nigerians. “Gonto,” the lead single to his upcoming fifth album, is a poetic middle finger at the corrupt leaders insensitive to the plight of its citizenry, and a bracing hymn to the current generation fighting back against the impunity. Released last Friday ahead of the Democracy Day protests, the song has now been supported by a video, a live performance piece that takes into account the orchestral elements and agitated messaging. Also spliced in is footage from an upcoming film helmed by Ibejii, which will star Dakore Akande, Christian Paul and others.

DolapoTheVibe – “Work”

Last October, DolapoTheVibe shared her debut EP, Unanticipated, a formidable showing of her nascent abilities to make resonant and catchy Afropop songs. For her first single of the year, “Work,” she sneers at those who like to exploit other people’s pockets rather than work for their own money. The singer alludes to personal experiences as she sings, “you wan chop all my money, shey mo jo Dundee (do I look like a dunce?)”, over the snappy production by Miraqulous.

Badthesoundboy – “O Dun”

Nigerian-born producer, BadTheSoundBoy is gearing up for the release of his debut EP titled ‘Bad for You’ which is slated for release next month. Ahead of this, he’s giving listeners a taste of what’s to come with the release of new promotional single “O Dun”, a groovy anthemic number that deserves to be on your playlists. Over the song’s uptempo production, he addresses a love interest who’s love he can’t seem to get enough of as he quips “Girl o dun mi/Girl I like as e dey sweet me” over the song’s brassy production. It’s a classic Afropop number set to get you and a special someone whining and dancing at every listen.

NATIVE Exclusive: DJ Poizon Ivy on her time as Music Coordinator for the 2021 Basketball Africa League

Over two years after its announcement, the inaugural edition of the NBA-affiliated Basketball Africa League (BAL) took place in Kigali, Rwanda, from May 16 to May 30. Initially scheduled to tipoff in early 2020, this yar’s edition was held in a bubble environment that required all twelve teams involved to gather in the Rwandan capital and play all the games in the Kigali Arena. Egyptian national champions Zamalek emerged winners of the league’s debut edition, closing out a 2-week run of group and playoff games.

“It wasn’t a tense environment, there was security and a great venue,” Poizon Ivy the DJ recalls of her time serving as Music and Sound Coordinator at the recently concluded league. Born and raised in Nairobi, Kenya, before moving to Dallas at age 9, music and basketball have been ever-present in Ivy Awino’s life. She played basketball in high school, started figuring the turntables out in college, spun for a short while in the WNBA, and is now a well-known figure as regards sound-tracking games in the NBA.

Currently, the Senior Manager of Corporate Social Responsibility and Sports Sound Strategist for the NBA’s Dallas Mavericks, DJ poison Ivy is well-versed in the act of keeping basketball games lively, having spun music and directed audio proceedings at countless professional games, including a record-making stint at the 2018 NBA all-star game held in Los Angeles’ Staples Center, as it official DJ—the first woman to hold that title. She brought all of that experience to this year’s BAL, entertaining the limited crowd in the Kigali Arena and engaging viewers from all over the world with her eclectic music selections and audio prompts.

“It was one of those things I had foreshadowed while it was in the works but I didn’t know that,” she tells me of being tapped to be part of the league’s game operations. “I just envisioned this opportunity where I’d be able to program Basketball games on the continent with fully African content.” Throughout our conversation via Zoom call, she’s palpably grateful for being able to play such an important role at the debut edition of a pan-African league that has the potential to be hugely, globally significant in coming years.

During the 2-week league, DJ Poizon Ivy used the opportunity to celebrate, flaunt her knowledge—and discover even more—of the diversity of music being made by African artists across the continent and in the diaspora. With plans to release a playlist with all the songs she spun at the BAL, and a short project featuring song remixes debuted during the league, DJ Poizon Ivy will be displaying how tapped in she is into African music. For now, she’s still very excited about her work at the BAL, so much so that she considers it a landmark in her career, so far.

Our conversation with Poizon Ivy the DJ follows below and has been lightly edited for clarity.

NATIVE: How did you get into DJing and music in general?

DJ Poizon Ivy: Music has been something that’s been present in my life for a long time. I’ve played piano since I was five years old, I played the cello at some point, always been interested in the vocal realm, you know, performing. I’ve always been intrigued by the arts, stage shows, music directing and how all those concepts come together. That’s just been a common thread throughout my in terms of personal interest. In terms of DJing, when I was in college some of my good friends were top DJs in the city, so it was just one more instrument to learn and my house was always the party house. One of my friends, Josh, he’d bring turntables since we had parties and one day I was like, “I want to learn how to DJ.” He dropped off the turntables and he left them there for me to figure out how to set up, that was the birth of DJ Poizon Ivy.

How far back was that?

Oh man, that’s at least ten, eleven years.

I know you were a Ball Kid with the Dallas Mavericks, but how were you able to link DJing back with Basketball?

Basketball has also been a common thread in my life, whether it was being a ball girl to playing on a team in high school, and then I ended up being the team manager. A lot of my friends would now remind me that I made warm-up CDs in high school, so there’s some foreshadowing in there. I auditioned to be the Milwaukee Bucks DJ in 2012, nearly landed that position but ultimately didn’t. I toured with the WNBA for a while, then when the Tulsa Shock relocated and became the Dallas Wings, I went with them for a season. At that point, I had a friend of mine who nudged me to reach out to the Mavericks and ask about any available opportunity. Some point in the summer, their DJ resigned and they were searching for a new DJ, being that I was top of mind they reached out and here we are five years later.

What’s been the best moments of that journey so far?

That’s hard because—not to be that person—for me, every day I work is a new day. There are no games that are the same, so I value each and every one of those opportunities. But I would say that what I just got done doing, sound directing the BAL because that came as a result of trajectory and progression throughout the NBA. All roads led me to that, so definitely being the sound director and music coordinator has been the height of all that.

How did you get into that role?

It’s actually been a long time coming. Obviously, my relationship with [BAL President] Amadou Gallo Fall was important. Immediately after learning about the inception of the league in 2018, I knew the people who were going to be responsible for game operations, and they’d even reached out to me before I even reached out to them. It was one of those things I had foreshadowed while it was in the works but I didn’t know that, I just envisioned this opportunity where I’d be able to program Basketball games on the continent with fully African content. The season was supposed to start in 2020 but, you know, Covid-19. I was actually four days out from leaving when the world shut down, and there was a possible restart at the end of last year but that didn’t happen, so it was a long time coming. It was also one of those things I’ve kinda been like, there was no other person for the job but me.

Was this your first time in Rwanda?

Yes, this was my first time visiting Rwanda. Granted, I am East African but I’m just now getting a chance to travel around East Africa. It was my first time but it definitely won’t be my last, it’s an amazing place if I may say so myself.

What was the experience like, considering the arrangements and restrictions brought about by the pandemic?

It was different because there’s a difference between travelling then and travelling now. You know, keeping up with testing requirements and all of that. But I’m very proud of the league and this being the fourth bubble to execute—NBA, WNBA, G-League and now this one. Managing these large competitions with people who are in close contact with each other, pulling that off is something that the NBA’s medical team should be recognised for, which made it enjoyable because you knew that in the bubble everyone was Covid-free. It wasn’t a tense environment, there was security, a great venue, and still being able to host a limited number of fans while restricting access to those in quarantine protocol. It’s a cool feat. I think the joy is that I was in there and part of it all, actually seeing it from the inside out is one of my highlights.

What were your specific roles and how was stressful was it?

As the music coordinator, I’m responsible for all the sounds you hear in a basketball game. I’m responsible for all the offense and defense prompts, all of the in-game stuff, so it’s not just the music before and during the game. I mean, it’s not stressful because it’s what I do every day for the Mavs, I’ve done it in several different capacities whether it be overseas, or All-Star or other functions. I think the difference between us and others is that our business is always high pressure, so with every experience, you’re getting training for the next time. For me, it was more so the nerves of, “Oh man, this is actually happening, like I’m actually here.”

How did you select songs to spin?

You know, market research is really, really important. Beyond the people in that arena, you typically have to program for the people also watching on TV, and that’s over 215 countries. Then obviously, there are teams from different countries playing so you gotta know who’s in front of the TV. I tried to travel around the globe during every game, I mean around the globe from the pan-African and diaspora lens. So, whether that be South, North, East, West, central, and artists from all over the diaspora with African ancestry. It was new songs, old songs, traditional stuff, and obviously for the arena you want to keep it up-tempo and show a lot of love for the hometown. I had two presidents at one game, the president [Paul Kagame] was at several other games, so there’s like learning all of their patriotic songs and all that kind of stuff.

How much are you tapped into music out of Africa?

I listen to a lot of stuff, my process of discovering music has no rhyme or reason. Like when I was in the bubble, they had a bar that was across my room and they played music out there and it would be different teams from different countries, they’d play their stuff. I would shazam everything—Shazam and YouTube are my two favourite things. Anyways, I’m very much tapped into music from the continent. In terms of what I’m listening to, there’s “OTF” by Yinoluu and Riverays, “Sativa” by Runtown and Minz—I’ve always loved Minz’s music. I’m really happy for King Perryy, also for Tems because it’s great to see her star rising. There’s Hart & the Band, they just dropped a new album, also Bruce Melody, and a lot more East African artists. Oh yeah, Fireboy. I remixed “Champion” with this Nigerian EDM duo, Maze & Mxtreme, those are my boys. We’re actually getting ready to release a remix pack of three songs we remixed for BAL purposes. But still, generally speaking, I’m a really big fan of Harmonize, the whole Wasafi family, my girl Bey T, Xenniah Manasseh and more.

You’re really plugged in.

Oh yeah, I could go on and on, I’m always listening to music. I’m actually getting ready to release a BAL playlist with every song I played during that 3-week span.

For you, which were the most memorable games in the league?

The first and the last games. Eventually, I would tell the full story, but in the first game the power went out. Like, we’d been rehearsing for this for a long time and the power goes out, but it tested my ability to bounce back. That’s live production for you, you can rehearse all you want to but on show day something goes wrong, you just have to adjust. This was the first game, we wanted to get off to the races; it was a Patriots game, a home game, it was crazy but we scaled through. Then the last one because, after going through weeks of games and being emotionally invested, it was crazy to see how people become fans of different clubs. In the championship, I was like, “How did I end up DJing a championship game?” I’m still excited from all of it.


@dennisadepeter is a staff writer at the NATIVE.


ESSENTIALS: GUILTYBEATZ’S ‘DIFFERENT’ IS RICH WITH A FUSION OF SOUNDS

Listen to Ilaye’s sophomore EP ‘Sixth Sense’, Now!

Fresh meat alum Ilaye knows a thing or two about navigating life as a young woman. ‘Pneuma’, her debut EP from October last year, is a marvel in detailed storytelling and empathetic messaging. Here, she wove stories with soulful melodies covering topics such as love, loss and innocence with a child-like empathy.

On her sophomore release ‘Sixth Sense’, she continues her refreshingly unfiltered musings covering the misfortunes and promises that come with love–this time with a more mature perspective. “We set out to make a project that reflects love, self-awareness, and bare emotions. It took a challenging amount of patience; but it’s finally here!,” she shared on her Instagram yesterday.

 

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Over 6 succinct tracks, Ilaye finds herself becoming the poster girl for those who don’t quite know how to navigate life’s many storms. Her buttery smooth vocals are armed to the teeth with affirmations for anyone struggling to pick themselves back up from heartbreak (“Counted all my losses, yea embrace it/Always keep it real, ain’t gotta fake it”) on tracks such as Lady Donli-assisted “Yktv”. There are also sharp observations about finding your self-confidence on other numbers such as “Regardless”, where she sings, “Look in the mirror, you can see you the baddest/Don’t ask for permission, take up space and say less”.

Pairing wistful familiar production from a host of producers such as Remy Baggins, Sir Bastien and more, the singer’s silky timeless vocals take centre stage, guiding and coaching listeners through a tightly honed musical experience created to uplift them and provide aural healing for those coursing through similar experiences. As an artist who is sorely underestimated in the music scene, her second offering ‘Sixth Sense’ shifts the pin on her creative output, showcasing her newly refined confidence. To this end, the NATIVE spoke to the singer about her journey so far since ‘Pneuma’ and the making of ‘Sixth Sense’ with Lady Donli, Show Dem Camp and more.

Our conversation with Ilaye follows below, and it has been lightly edited for clarity.

NATIVE: Hi Ilaye, how would you describe your journey since ‘Pneuma’ in 2019?

Ilaye: Amazing actually. That was my first body of work and I didn’t expect the acceptance that it got at the time of release. I think the journey since then has been kind of revealing. I have found aout more interesting things about myself as an artist and that has translated into the music. I figured that my writing style kind of morphed and it wasn’t something that I had planned. Most times when I write, I don’t think about the music that I am about to write, the words find me and it comes to me naturally. During this time, I’ve noticed that my sound morphed, previously it was raw Alternative but now it’s a mix of R&B, Rock, Afropop and slightly Trap. I also feel like my listeners also grew since ‘Pneuma’ so I’m grateful.

NATIVE: What’s the inspiration behind your latest EP ‘Sixth Sense’?

Ilaye: The inspiration behing my EP is the need to represent the strength of emotions. Emotions as a weapon or a tool or a blessing. In Nigeria, we tend to demonise emotions and a lot of people grew up in environments where we couldn’t express our emotions and we had to tone it down or act tough. I think it’s bullshit because if you are not allowed to feel, it’s like you aren’t allowed to be alive. Every song on ‘Sixth Sense’ represents the emotions I was feeling at the time so I kind of associate sixth sense with all your other senses outside the main five senses. It could be love, regret, confidence, self-awareness, and even loss. It signifies emotions and feelings and how potent and valid they are and how okay it is to have them.

NATIVE: How was collaborating with Lady Donli, Show Dem Camp and producers like Remy Baggins?

Ilaye: It was amazing collaborating with all of them. It was seamless and there were no back and forths which is something I like when I am making music. The synergy was just perfect and they are genuinely nice and kind people so I feel like they just understood the project and what I was trying to do. They blended with the whole process and I am super grateful to all of them.

 

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NATIVE: Describe your songwriting process.

Ilaye: Writing is my favourite part of making music. I barely sit down and think of what to write, I can be doing something entirely mundane and then a song idea just comes to me. I immediately pick up a pen or pad and record the melody or lyrics on my phone. Other times, I do sit down to write and that’s usually when I’m writing for someone or I have to deliver a verse really quickly. To be honest, I don’t like those times because the times when it just comes to me are usually more seamless and amazing and it feels really good because it’s almost something implanted in me. It usually comes with a high – almost like a hallucinogenic experience.

NATIVE: When was the last time you fell in love?

Ilaye: I think 2017. That was the last time I fell in love. It was trash—okay it wasn’t trash but it was good sometimes and confusing at other moments.

NATIVE: What does the rest of the year hold for Ilaye and her fans?

Ilaye: Hm, good stuff. There are a couple more singles and things dropping after ‘Sixth Sense’ towards the end of the year. I am excited and thrilled and just going with the flow at this moment. I am also detaching myself from the pressures and working intentionally.

Listen to ‘Sixth Sense’ below.

[Featured image credits: Instagram/@sabr.art]


Tami is the Community Editor.


ICYMI: Elsa’s World

How NBDA successfully integrated into streetwear culture in Nigeria

Sneakers have become a highly lucrative cultural juggernaut. In 2020, the global sneaker market was valued at $79 billion with predictions to reach a further peak of $260 billion by 2026. This large shift is due to the changing perceptions of sneakers in the world today. They are no longer exclusively manufactured and purchased for their durability on various sports pitches but have become cultural staples in the fashion and sports industries today. Case in point: Lil Nas X’s satan shoes which retailed for $1,018.

In Nigeria, however, assimilation into our culture has been a slow build. While there’s undoubtedly a market for the product here, it seems that many consumers within the country prefer to purchase sneakers from trusted international brands. A 2018 report reveals that Nigeria’s sneaker importation revenue was valued at $100 million in 2018, confirming the attitudes towards local brands selling the same products. In the instances where home-grown shoes are purchased, consumers end up buying counterfeit because of their eye-catching prices, a move that’s resulted in the rapid growth and expansion of the Aba (second hand) market.

NBDA, a home-grown footwear brand wants to create change in the existing cultural landscape. Founded back in 2015 by founder, Ben, a sneakerhead based in Lagos, Nigeria, the brand has taken the country’s alternative scene by storm with its collection of monochrome sneakers and slides. He tells me, “I looked at Nigeria and its creative scene and I found that everyone was focusing on clothing brands and people weren’t really catering to the needs of the diverse market.” Now, the brand’s shoes are donned by everyone from your favourite alien musician, Wavy the Creator to DRB member, BOJ, MAVIN singer/rapper Rema, photographer TSE and many more within the creative community.

“There is a market for sneakers in Nigeria but what we have discovered is that people still have a preference for foreign brands.”

 

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Although the brand was formed nearly 6 years ago, NBDA didn’t quite take off till a few years later when its founder – who prefers to be out of the limelight – moved back to the country and began to lay the groundwork for the brand as it is now known. After encouragement from friends who had seen the sneaker prototypes he had made, the brand’s CEO decided to take things a step further by teasing the potential product on social media. “It gained a bit of interest online from people curious about the brand and that’s when I decided to make the first official pair,” he tells me. “They were pair of red high-top sneakers with zips at the back and black soles and it had stingray leather. It was made in China so the quality wasn’t great but it was a start for us.”

To own a footwear brand in Nigeria is incredibly difficult. In 2019, the textile, apparel, and footwear industry-a subsector of Nigeria’s manufacturing sector had a negative GDP performance, according a report by Stears Business. There aren’t many factories to seamlessly manufacture shoes within the country—particularly, not the shoes Ben and his team were looking to make. He tells me that the brand was initially self-funded (and largely still is) and as a result, he bore the brunt of the manufacturing and production costs.

With no home base to create prototypes, NBDA wholly outsources its manufacturing and production process, a feat that mars many fashion and design businesses within the country. Ben tells me that the team currently manufactures their different products in 11 different factories across 4 different continents: “Sometimes, the constant back and forth with the designs and edits and then sending stuff to Portugal or China or Vietnam and it coming back and then having to like send it back and work constantly on the product can elongate the process for months or years.” Each pair of NBDA slides or sneakers requires an in-depth design process where it is sketched, transformed into a 3-D sculpture before being made into a prototype after many corrections and additions have been made.

The realities of manufacturing outside the country are even steeper when you take into account the falling Naira rate. Ben tells me that NBDA currently has to compete with an ever-falling currency and the need to retain their product prices from their community of shoppers. “We’re spending 12000$ to fix soles designs currently. A few years ago, that amount would have probably been N4.8 million but today, it’s probably more than N7.2 so you have that pressure of your costs constantly going up but then, you have to keep the prices the same and there are customers who even want the prices to come down.” Alongside this, NBDA also has to deal with the additional costs that come with shipping and importation into the country. With all the back and forths that come with shoe production, Ben tells me that this is another difficult area to navigate as a designer in Nigeria. Ultimately, the goal would be to create a manufacturing base within the country in the next few years.

“The goal is to manufacture NBDA product here in Nigeria in about two to three years. As long as we have the right volume then we’ll be able to do it because volume drives manufacturing.”

Despite all these factors at play, business is going well for the brand and they have found a way to remain afloat due to backing from the alternative industry and collaborations with key players in the budding streetwear scene. Ben tells me that the power of community is a driving factor at the heart of the NBDA brand. “Most times, we see that there is a long chain of friends buying our products. At first, customers will come with many questions about their first purchase but after their first pair, it’s almost guaranteed that they come back from more after seeing the quality of our products.”

Community is truly at the heart of everything that the brand stands for. So much so that the brand’s title, the abbreviation NBDA has come to mean anything the wearer wants it to be. “We want to be community-based and we want people to build that NBDA community and form whatever it means to them. We want people to give it its own meaning. I’ve heard very interesting variations. My best would be Nobody Dies Alone because it reminds me of Pharrel and N.E.R.D’s ‘Noone Ever Really Dies’ and I used to be a huge fan growing up.”

Alongside this, NBDA also champions collaboration. Over the years, they have collaborated on exclusive collections and releases with a number of home-grown brands such as Severe Nature, Shade of Grey and PIECES, a few streetwear brands that have become cult figures in Nigerian streetwear. By collaborating with these brands, NBDA has been able to build consumer trust with many within the creative community who already look to these brands as trusted home-grown labels with reliable quality.

 

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Over the past few years, NBDA pivoted into manufacturing slides, a staple in many wardrobes across the country. Due to the hot climate, many consumers would rather purchase comfortable open-toe shoes with easy circulation for walking longer distances rather than covered footwear such as trainers. Ben tells me that creating the slides was actually a by chance. “We started off with the sneakers and then dipped into Chelsea boots for a bit then came right back to sneakers. But with the slides, they were literally a mistake,” he shares. “We just accidentally posted it online and the feedback was crazy. We were really shocked. The sneakers do well but the slides do a whole lot better. We probably do like 5 to 6 times more slides than we’d sell sneakers.”

Although this has been their sole focus for much of the past year. Ben informs me that the brand will be realigning its focus on its love for sneakers this coming summer. There are currently a number of collections in the works, although he’s keeping those quite close to his chest – exclusives are typically shared on the brand’s design page – however, he tells me NBDA is now looking to collaborate with influencers and people within the creative community that help drive the culture. Currently in the works is a stellar collaboration with Iretidayo Zacchaeus, the founder of Street Souk, a streetwear festival held annually in Lagos.

As for what to expect, well you’ll just have to wait patiently and see, however, Ben does share that “Ireti has a huge impact in the streetwear community in Nigeria and we’ve let her add her own touch and her own details to the collaboration.”

[Featured image credits: Wole Babalola/NBDA/Pieces]


Tami is the Community Editor.


ICYMI: How fashion could greater influence the music industry in Nigeria

Celebrate Father’s Day with the NATIVE Wellness Hub

This past year has been particularly traumatising, with innumerable tragedies clustering the new-stream and personal losses affecting almost everybody. As we grow older and get better-versed in adult life, our responsibilities grow exponentially, making it even more difficult for us to focus on what is most important: our overall wellbeing. Often it is easy to put work, or family responsibilities or duties to friends first ahead of our needs, but in the end this only lead to burn out and in some cases, several visits to the trenches.

In line with our responsibilities as a community-first media hub, last month The NATIVE partnered with Eudaimonia Wellness to host our inaugural NATIVE Wellness Hub at the end of Mental Health Awareness Week, a retreat event designed to encourage our community to put their mental health first through resetting and re-centring. 

 

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During this retreat, one of our male guests expressed how the pervasive “men don’t cry” mindset stopped him from expressing his mental health needs. Nigerian men are very often denied the freedom to express their emotions, nor are they afforded the space to confront their inner thoughts. Unfortunately, the rigid expectations our society places on men pays no mind to their mental wellbeing and actively encourages men to ignore it or hide their struggles. For fathers, these troubles are especially heightened, as they carry the weight of the whole family on their shoulders.

Recognising the need for safe spaces for men in our community and beyond, this Father’s Day, NATIVE and Eudaimonia will host our second ever Wellness Hub, to offer a day of mindful meditation, and relaxing activities that will give dads the much-needed break that society instructs them to be ashamed of taking. 

Open to young and new fathers, seasoned dads and their kids or friends, if they wish to come along, The NATIVE and Eudaimonia’s Father’s Day Wellness Hub will include a Kung Fu class to kick off the session, followed by a cocktail making class powered by Johnnie Walker. With two 3-hour sessions taking place, one in the morning and another in the afternoon, this Wellness Hub can fit easily around your day, but will still ensure that father’s get the chance to prioritise their own wellness, for the day and be inspired to be attentive towards their mental wellbeing for life. 

Sign up for yourself, your dad or a loved and cherished father you know here, for a chance to attend.


ICYMI: FOR US BY US: PRIDE IS EVERYWHERE

NATIVE Exclusive: Lojay’s commitment to artistic growth is paying off

The night after the release of his new collaborative EP with Sarz, emerging Afropop star Lojay went to the club to find people deeply enamoured by the project’s Amapiano-infused closer. “I wish I filmed the reaction because people were screaming “Monalisa” and I’m thinking, ‘Didn’t this just drop last night?’” he recalls over a Zoom call, one week after release. It’s reflective of the rapt reception LV N ATTN was instantly met with, and it’s much deserved.

The 5-track tape is an excellent merger of Lojay’s gliding vocals, emotive lyricism and bright melodic choices, with Sarz’s proven ability to create eclectic and deeply engrossing soundscapes. Being the second artist to work with the Afropop production maestro, Lojay earns his breakout moment with effortless command, a benchmark performance fitting for his introduction to a wide audience. In 2017, he dropped his first EP, Midnight Vibes, a curious collection of his raw and promising abilities as a singer and songwriter. Upon graduating from Uni in 2018, he decided to go all in on making music, and that meant a strong commitment to refining his craft.

“I never really wanted to “blow,” I just wanted to develop my artistry and I believed everything would fall in place and well,” Lojay says of the period between making that decision and now. “I believe the growth is quite evident now.” Linking up with Sarz during the early days of the Coronavirus pandemic, Lojay wasn’t really in the best space, but the producer’s instant rapport and willingness to work on an EP was vindication for the time spent at becoming a better version of his musical self. The project’s only vocal feature comes in the form of a stellar Wizkid feature, another huge co-sign of his talents.

“I’ve just been absorbing everything that’s happening and working on taking in everything that’s yet to come,” Lojay says of the reception to LV N ATTN, noting that he’s been swamped with joy, excitement and, most of all, relief since its release. There are no plans to step back anytime soon, “I want to be able to make this level of music consciously for the next 10-15 years,” he tells The NATIVE. It’s Lojay’s time and the clock will be ticking for a really long time.

Our conversation with Lojay follows below, and it has been lightly edited for clarity.

NATIVE: What’s the origin story behind Lojay?

Lojay: Lojay is Lojay. The person I am within the music is the person I am outside. My whole life revolves around music, so there’s no possible way to talk about Lojay outside music. That’s literally me. Lojay means Lekan Osifeso Jnr. and that’s my actual name

What’s the growth between your debut EP, Midnight Vibes, and now been like?

To be honest, there’s been a massive amount of growth which I would say is very intentional. Going through my catalogue, you’ll notice the growth in the music. Every new song is better than the last and that was an intentional thing for me. Concerning Midnight Vibes, I had recorded a couple of songs and instead of putting out one song, I just decided to put out a couple so people could, you know, vibe and that was the major intention behind the EP. I was in Uni so I wasn’t really focusing on music at the time, but when I was done around 2018 and I started to drop songs like “Ariel” and “Ogogoro,” it was then my sound really started to take shape. At that point, I had left uni and gotten back to Nigeria, I had to figure out what I really wanted to do. I only had one thing on my mind, It’s what I’d been preparing myself for 2 years prior to that time and, well, I’ll say there’s been a massive amount of growth and I feel very blessed. I never really wanted to “blow,” I just wanted to develop my artistry and I believed everything would fall in place and well, I believe the growth is quite evident now.

How did you meet Sarz?

This was the beginning of the Lockdown in Lagos. I wasn’t in the best of spaces because music wasn’t really going the way I had intended for it to go. So in my bad space, I reached out to my lawyer just to let him where I was at the time, and my lawyer said, “I could hook you up with Sarz, what do you think?” And I’m like, “What do you mean what do I think?” So I went ahead to work on some demos and sent that out. In my mind I’m thinking Sarz would want to work on one song but to my surprise he says we should work on an EP and at that point, I knew this wasn’t a mistake and I was doing something right. Like, if Sarz could see that, to the point where he wants to work on an entire EP, then there had to be something. I had already been confident but there was just this reinforcement that came with him just saying, “Let’s work on an EP.”

Sarz has worked with some of the biggest names in Afropop today. What was putting the project together like, especially with someone of his calibre?

I know you might be expecting to hear something serious but it was mad fun. There was no forced energy, no pressure, the chemistry was there and it was just so much fun. We just camped in the house and listened to beats, we vibed, we laughed and we were just having a good time making music. This entire process made me understand the importance of keeping it seamless and just enjoying your process, rather than pressuring yourself to make a certain type of music; enjoy yourself and let the music make itself.

Was there any sort of self-pressure to make a ‘hit’?

Not at all. You can’t make a hit song, you can only make a great song. The acceptance determines whether it’s going to be a hit or not. If I was trying to make a hit, I don’t think I would have even thought about making “Tonongo.” It was never about making a hit song, it was always about expressing myself on a song and making it undeniable.

You mentioned recently that you don’t write, you allow yourself to feel the music then you take it from there.

That’s literally it, I always have to feel the music. Music is spiritual. It’s a feeling thing, not just a hearing thing.  On hearing a beat, I already know what I want to say within the first 5 seconds. In the space of 5 seconds, I know how the beat is making me feel, I know what I want to talk about and I just basically express myself then fill in the gaps properly after. I’ve realized that if I sit down to write, it doesn’t feel natural, it just feels like I’m reading a script and that just doesn’t work for me. By the time I’m even done writing, I most likely am not in that space anymore. So basically, I hear the beat, I feel inspired and I just start talking. A perfect example is the first verse of “Monalisa” because that just came out.

What’s your favourite song off the tape?

That’s like asking me about my favourite child. I honestly have no favourite because I love everything. Every song takes me to a different space, so I won’t say one is better than the other, I’d just say they all represent very different things and they all have their own essence.

What would you say has been the most challenging part of working on this collaborative project?

The most challenging thing about this project was conscious development. The major aim for me with this EP was to grow, and you can’t count it as growth if you’re not conscious of the things that are happening. I needed to be aware of the changes that were causing growth and to be aware of how to maintain these things. I want to be able to make this level of music consciously for the next 10-15 years. Making the music wasn’t hard, but making it intentionally was a different ball game. That was the most important thing for me as well as the most challenging.

 

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A post shared by Lojay (@lojaymusic)

Let’s talk about the Wizkid feature “Lv n Attn.”  There’s a viral video of you in utter shock and disbelief when you heard that verse, how did that verse come about?

I had recorded “Lv n Attn” in Lagos a while back before anything. We went to London and we had been doing some work. So I’m guessing Sarz on his own had gone to see Wizkid and played the song for him alongside a bunch of other songs and, apparently, Wizkid loved the song from the jump. Some random morning, I was at the studio and at about 2am, I got a text from Sarz asking where I was and if I could make it to another studio at that time, I had a feeling it might have been to meet Wizkid but I didn’t want to get too excited just in case it wasn’t that. On getting to the studio, it was some sort of studio in a studio thing. I walked into the room and I heard this laugh, I saw Wizkid facing the control board, he turned around and the first thing he said to me was, “I’m a big fan.” and I was so shocked. He asked the engineer to play the record and the record just kept on playing over and over. He said he liked the song and he’d like to drop a verse on it if I was okay with that and, of course, I didn’t mind.

A week passed and nothing, two, three weeks passed and nothing still. At this time, we were getting ready to go back to Lagos and Sarz said he hadn’t heard back from Wizkid so I didn’t really mind just finishing up the song myself. Sarz had thrown me off balance with what he had said, then went ahead to play the song and my reaction in that video was exactly what I felt. To say the least, I was shocked. In that moment, I thought about what that meant and because Wizkid is someone I had always looked up to, just getting him on my first official tape, him dropping the kind of verse he dropped and him just showing the kind of support he has shown is nothing but a blessing.

How has the general reception been to the EP, and did you have any sort of fear of unacceptance of the music?

Mad! That’s the simple answer. The reception has been crazy to say the least. The project was released on Friday and we went to the club that night and the night after, I wish I could film the reaction because people were screaming “Monalisa” and I’m thinking, “Didn’t this just drop last night?” That was when I knew this one was about to be very special. And No, there was fear of unacceptance. I knew what I had created and I was quite confident.

What’s the most valuable thing you’ve picked from working with Sarz?

Intention. That was the best and most important advice I really got from him. It was a conversation we had had very early and it was one of those conversations you have and after that, you don’t really need to talk too much anymore. One of the best things about working with Sarz is the creative freedom, he allows you to do your thing.


ESSENTIALS: SARZ & WURLD ARE A STUNNING MATCH ON ‘I LOVE GIRLS WITH TROBUL’

Hot Takes: Kai Collective, Insecure is Over Party, Superstar at 10 & More

Summer is here and we’re still coursing through the dreaded Mercury retrograde. While June used to bring the fresh promise of daytime parties and bottomless cocktails with all your best pals, this year seems different. On the one hand, with the COVID-19 vaccines in circulation around the world, and memes of the ‘fully vaxxed’ taking up every corner of our online space, we’re more hopeful than we’ve ever been in the past year. However, on the other hand, there’s no ignoring the real issues that are going on in our world from the insecurity throughout  Nigeria to the global fight for the rights of the queer community.

It’s been a difficult time to take stock of any pop culture news in a world where we’re constantly fighting for our voices to be heard. We took a much-needed break here at the NATIVE, directing our focus to our other properties including developing the NS Radio Live exclusively available on No Signal Radio and our recently launched digital covers which launched back in April. During this time, we haven’t lost sight of the ever-changing world of popular culture and how it continues to broaden and expand as the world becomes more digitally connected than ever before.

So, in the spirit of summer and the new hope it’s supposed to bring with it, we’re reviving the column one last time, and this time FR FR. For this week’s Hot Takes, I’ll be taking the reigns to talk all things Kai Collective, Insecure’s final season, Sarz and Lojay’s ‘LV N ATTN’ and Wizkid’s ‘Superstar’ at 10. Enjoy.

An album currently on replay: ‘LV N ATTN’ – Lojay and Sarz

With the mid-year mark of the year finally here, we, here at the NATIVE have been talking endlessly about the songs and albums that have soundtracked the year so far as well as possible contenders for songs of the summer. While everyone around me seems to have Ladipoe and Buju’s smash hit “Feeling” on repeat, a project that’s been getting a lot of love from me is ‘LV N ATTN’ by Sarz and Lojay. Standouts for me are “Monalisa”, “Tonongo”, and “Panty!”, and streets seem to approve as well. I’ve been out a couple of times and seen crowds of people dance in excitement as the songs come on rotation. It’s safe to say that Sarz has done it again and all alongside the stellar talent of a promising artist. Lojay is clear.

A series I’m binge-watching: ‘Cruel Summer’

Stop what you are doing right now and get into Freeform’s latest teen series ‘Cruel Summer’ a thrilling 10-episode show told over the course of 3 consecutive summers in ’90s America when a young girl goes missing in a small town and another girl mysteriously takes over her life. I spent my entire long weekend getting immersed in this world so I could probably give you a detailed synopsis of the series but for the sake of not giving away any spoilers, I’ll spare you guys. If your beat is thrillers that have you unpacking and guessing the ending through a series of flashbacks, flashforwards, and foreshadowing then you definitely want to check this out.

The Gaia’s next mission: Loungewear

Fisayo Longe’s Gaia print is one of the best discoveries of the past year. It’s so hot that it’s attracted knockoffs and variations from the entire fashion industry from far and wide, even the fast fashion brands. As we all know, there can only be one Gaia (no seriously, each Gaia print is unique to save fabric –talk about sustainability). Now, the world around the famous print seems to be expanding (There’s a pink Gaia on the way girls, get ready). Earlier this year, Fisayo Longe officially launched the Gaia swim under the tagline ‘Swimming in the Deep’, a vibrant collection of bikinis, one-pieces, and beachwear that donned the famous print. Without a moment of hesitation, the fashion designer and influencer has already hit back with the Gaia loungewear collection which is set for release this Thursday at 5pm to her community and later at 7pm to the general public.

The collection is set to feature a collection of intimate pyjama sets and head scarfs in numerous silk fabrics and colours alongside the new Gaia robe–the first of its kind. Each item is said to be uniquely made in efforts to save up to 40% of the fabric which would otherwise be wasted. Already, both ladies and gents on the timeline are lining up to cop theirs once the collection goes live and I can already see that Kai has got another hit on their hands–just in time for summer. It’s also amazing to witness in real-time the growth of a Black-owned African brand. Kai Collective has won over hearts in the past year especially for the community of Black women that it consistently nurtures and the distinct Gaia print courtesy of Grapes Pattern Bank, a locally sourced pattern design and printing company.

 

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The Insecure is Over Party (Boo!)

HBO’s hit television show, Insecure is coming to a close with the premiere of its fifth and final season. I can’t help but feel sad that the show we have watched is coming to a close after keeping us company for the last 5 years as we navigate our own coming of age. In many ways, ‘Insecure’ is one of the most iconic shows of our time, as it showed us that black people can just lead normal lives. The show taught us about Black friendship, Black love, Black wealth and success, which led to many of us bonding on the timeline through live tweets of polarising commentary. “Do Issa and Lawrence get back together?” “Will Molly ever find love?” and the likes, were the starters and breakers of many friendships and relationships–and now its all drawing to a close.

In the past week, we’ve watched as the entire ‘Insecure’ cast and crew come together to shoot the series final season with teary eyes and deep longing. “Today is my last day shooting #InsecureHBO. Said goodbye to some of my favorite people on Earth, on and off-screen, this past week. Never imagined all the doors this would open. Forever grateful to those who paved the way for us to do us,” a tweet from Issa Rae read. It definitely does feel like we are standing at the end of an era, one which certainly gave a lot of people hope and joy to see Black characters represented so well on screen. But I’m even more reassured knowing that this certainly isn’t the end for Issa Rae and her drive to tell Black stories, our stories. She already has so much in the pipeline and I’m excited to see how she continues to break down the doors for more Black women in Hollywood. In any case, I’ll be hosting an Insecure Is Over Party till the final season is with us, you’re free to join me.

 

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Superstar at 10

Wizkid‘s legendary debut album ‘Superstar’ is officially 10. The weight of that statement alone should both excite and scare any ardent Afropop lover, as we take course of where we’re coming from and where we still have to go with our sound. Just like ‘Insecure’ which connected many of us to authentic Black stories, Wizkid’s ‘Superstar’ connected many millennial and Gen Z Nigerians and Africans to a pop star that looked like them, talked like them and dressed like them.

In Wale’s prospective review of the famed album, he mentions that when Wizkid arrived on the scene with the memorable video for “Holla At Your Boy”, he immediately won over the hearts and ears of an entire generation across the country. His age and gimmicks were an advantage because “almost every Nigerian music superstar that arrived before Wizkid came on the scene fully-formed or at least with visible signs of the years spent trying to get to that pinnacle.” While the music was a very important part of what we were hearing, Wizkid’s status as a cult hero over the years has garnered him the sustained attention of his beloved stan group, Wizkid FC. Indeed, many OG Wizkid fans would tell you that ‘Superstar’ houses many of the singer’s greatest hits while newer fans will immediately site ‘Made in Lagos’, his most recent effort for its multi-genre sounds that traverses different cultures and people. Whichever side of the fence you lie on, there’s no denying that the singer has tirelessly worked his way into the upper echelons of Afropop music coming out of Nigeria and his debut album serves as the most clairvoyant example of how his music “travels, no visa”.

Can we cancel Cater 2 U?

Yesterday marked 17 years since Destiny’s Child released their hit single “Cater 2 U”, a song about the endless devotion that a woman offers her partner in their relationship. However, this anniversary was less than welcome by a new age of woke music fans who found the lyrics a bit worrying given the unequal power imbalances that still exist between men and women today. With comments ranging from “‘I can’t believe destiny’s child sing “bills, bills, bills” then turn round and sing “let me cater 2 u” to comparisons between the number and slavery, it’s clear to see that the song can’t just fly under the radar anymore in a year like this.

When these young women were creating this song all those years ago, I’m sure they never imagined there would ever come a day when it would stand trial in the court of public opinion A.K.A. our nosy timelines. At the time of its release, the song even peaked at #14 on the Billboard Hot 100 charts and earned two whopping Grammy nominations, but almost two decades later, closer examination of the song’s lyrics reveal how harmful it is to consistently preach that women cater to the opposite sex (all while disregarding their own needs and wants). I mean these women did sing “My life would be purposeless without you” and “I put my life in your hands” which are certainly not messages that you should be sending in any healthy adult platonic and romantic relationship. While no side seems to have won the argument, it does raise the question of whether songs with questionable politics can ever be questioned upon further review even though these ideas were widely accepted at the time of its release. I don’t have the answers either but it is an interesting argument that’s further been fueled by a response from Michelle Williams. In her video that now has 47.6k likes, Williams says, “I just heard y’all want to cancel the song, “Cater 2 U” by Destiny’s Child? Oh honey, you didn’t discern who you were catering to and you gave your little pearls to swine. Don’t be mad at Destiny’s Child.”

While I don’t support shaming people in relationships they didn’t bargain for, and would much rather press skip on the song when it comes on rotation, I’m all for debating this topic a bit longer on the timeline to spark more reaction from the Destiny’s Child camp. Maybe next time, Beyoncé will be the one on the other end of our screen pleading her case. Come on girls.

Featured image credits/NATIVE


Tami is the Community Editor. Pitch a story on our For Us By Us column for Pride month.


ICYMI: Wizkid’s ‘Superstar’

For Us By Us: Pride is Everywhere

The hair salon used to be a central part of my life much like church and school, in the way it blended into the sphere that made up the bubble of my childhood. Some saloons were better than others; some had insects flying about, some were not saloons at all but small sheds on the side of the road where the hairdresser would shift my head into uncomfortable positions accompanied by unfavourable smells -a rite of passage for many young Africans like myself. My memory of Richard’s saloon fell on the favourable side.

Childhood increasingly becomes fragments and fragments of disjointed memories, however, my memory of Richard’s saloon fell on the favourable side filled with lots of laughter and joy within. Richard was a flamboyant man. Even at the age of four I could feel that something about him was different from the other men I knew. He didn’t walk like there was something heavy on his back like most men did to accompany their swagger. In fact, it was quite the opposite. Richard’s back was very straight, and his chest was very upright. His upper body was not the only aspect of his that was unique from other men I knew. His voice was soft, and his laughter, high-pitched  that would spur similar bouts of laughter in everyone else. It was inviting and unassuming and free. It was a familiar movement that I had seen from women around me and on television. A movement that myself and other girls would practice when we were “doing shakara” or “catwalking.”

Do you remember Richard?

He died from HIV.

When I was ten years old, my older sister gave me this news that she had passively heard from adult gossip that always seemed to always fall into her lap. Richard had passed away from a disease that waged a war of fear on the average Nigerian and rampaged the bodies of its victims alike. It was on television, in popular ’90s shows like ‘I Need to Know’ – a harbinger of the dangers of unsafe sex- and advertisements warning that “AIDS no dey show for face o!” Queerness was not something that was overtly discussed at the time, but when it was discussed, it was accompanied with undertones of mockery and shame through the subliminal message that practicing any activity related to homosexuality would result in HIV/AIDS.

Nearly every African country has a variation of the hibiscus drink that Nigerians call ‘zobo.’ In Senegal, they call it ‘bisap’, in Mali it is called ‘dabileni’ and in Ghana, they call it ‘sobolo’. I learned this and more similarities in the African Students Association at my university campus. Formed and governed by students from all over Africa, creating a vision of what a borderless version of the continent could look like. It sometimes felt like home in a country where I had struggled to catch a hold of that feeling. We wanted to be the change that we wished to see in Africa. We held seminars, organised parties, and raised money for charities on the continent. However, our small group was teeming with a certain prejudice. Once, when it was suggested that our club host an event in collaboration with the LGBT+ club, several members strongly opposed while making jokes about the organisation. It seemed that although we were ready to unite against a common problem: the ineptness of our leaders, we were less willing to release this particular injustice we ourselves were perpetuating.

Questioning the status quo was discouraged in two of the three structures that completed the bubble of childhood, namely church, and school. But in the third structure, the saloon, the question “why” sat with me. Not “why was Richard like that?” because there wasn’t a question about that, there was an understanding, a knowing. Richard was Richard. But why was it not okay for Richard to be Richard? I had seen people beaten on the road for accusations of same-sex relations or “man wey dey do like woman” or “woman wey dey do like man.” People existing in a way that was opposite to the roles dictated for them to perform from birth. Through those actions of violence, the question “why” had been buried alive. It clawed its way out as I contended with my own queerness when I was in a space that “why” was okay and fear was not the ruling party.

 

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As the world was becoming increasingly difficult to endure last year, I read books like I was trying to quench an insatiable thirst to live in a different world. Ones that preferably didn’t involve a raging pandemic. I entered the world of Ijeoma, the queer protagonist of Chinelo Okparanta’s ‘Under the Udala Tree’. Inside, was a different pain nonetheless but a familiar one. A pain that brought up questions that reading Chinua Achebe’s ‘There Was a Country’ supplemented. In both books, the experiences of Nigerians during and after the civil war are examined. Okparanta answered questions for which words did not exist in Achebe’s more conventional book. What happened to the queer people? They were there. Did they suffer? They suffered and not only for their ethnicity but for their sexuality, too. Both Okparanta and Achebe’s work reflects upon how important it is to not emulate prevailing injustices. Because when an authority denies one group of their rights to be, they are taunting their power to take from their citizens at will.

Queerphobia is a common scapegoating tactic used by authorities with failing structures to misdirect blame. During the rise of Adolf Hitler in Nazi Germany, men who engaged in any actions deemed queer -from gazes to sexual activity- were tagged with pink triangles and sent to concentration camps where they were castrated, used for experiments, or killed. The regime continued to arrest gay men, Jewish people, Black people, and anyone they scapegoated as a threat to their progress. During the #EndSars protest, LGBTIA+ Nigerians were taunted for claiming their stake in the movement even though they experienced violence from the state and the police in numerous targeted ways and “14 years” has become a running joke within and outside the community, but the signing into law of the Same-Sex Marriage Prohibition Act was also a perilous experience for many queer Nigerians. In Uganda, 44 men were arrested as they prepared for their Pride celebration. In Ghana, 21 LGBTIA+ activists are still awaiting trial for simply gathering in a place. People often associate the LGBT+ community with crime, but that is because these same people are too afraid to ask what exactly makes it a crime. Pride month began as a protest in San Franscisco, California and it is still a simultaneous celebration and protest for many, including queer people across Africa and the diaspora. Joy is not a frivolity and neither are human rights.

Twenty-two years later, I would visit another salon in Nigeria that would answer “why.” I had long abandoned religion and finished university, but I would always need the salon. “Can I take your number?”, a woman in this saloon asked and I gave it to her without the usual hesitation that followed this question. I had spent two weeks in the sleepy town of Benin City with only my father, his wife and their help for company. Reconnecting with my former schoolmates didn’t hold much of an appeal since it felt like a gamble to open myself up to the homophobia and matching piety that would likely accompany their presence. She asked me to meet her at a popular venue in town that I looked up on Instagram, but the insecurity in Benin made me decline the offer. Instead, she met me at my house the night before I would be leaving for Lagos. We met at the front yard and sat under a gazebo with no roof. The roof that used to cover the pillars had caught fire after a stray flame flew in from the neighbouring compound and burned it down.The last time I had visited Nigeria, I was still coming to terms with my sexuality but, this time, saying “I mostly date women” came as easily as saying my name or age. So, as she and I traded information to bring familiarity to the space of stranger, I revealed my sexuality and she revealed her own. It came out of her like a weight that she was taking off her chest for a moment to breathe properly. We were safe here, under this gazebo with no roof. There was nothing to hide from. In a small way, that night we had our own private Pride celebration because what is Pride except shedding shame in favour of visibility? “Don’t forget me.” She commanded, and I abided. I wouldn’t forget her.

How could I forget that queerness was everywhere, and I had found it again in a salon?

I’m a big fan of celebrating life in general, especially in a world where suffering and pain are so rife. For a demographic exposed to such a high rate of death and abuse for their sexuality and identity, it is important for the African & diaspora LGBT+ community to celebrate life too. To celebrate the fact that people like Richard existed; people like Richard were killed by a disease that was so poorly managed because of fear, a disease that disproportionately impacts queer people and leaves behind fragmented memories and unmarked graves. I celebrate in the hope that more lives will be saved from shame and fear by joy and pride. Africans are known globally for our way of celebrating. We throw elaborate weddings, extravagant funerals and over-the-top birth celebrations. They are simultaneously a show and a gathering of a community that takes place to be seen and to be honoured. What would it look like to celebrate queerness with equal grandeur?

Featured image credits/NATIVE


ICYMI: How Nigerian men are embracing self-expression through beauty and fashion

Best New Music: Kah-Lo’s “Commandments” is a self-affirming piece of Dance music

Kah-Lo knows a thing or two about making great dance music. In 2017, her collaborative smash hit with British producer, “Rinse & Repeat,” was nominated for Best Dance Recording at the Grammys. The song is a masterclass in producer and artist pairings, combining a propulsive, hypnotic groove with scene-setting lyricism. The subsequent collab project, ‘Foreign Ororo’, made the best of that dynamic, with Kah-Lo slotting in as a reliable presence alongside Riton’s blend of Deep House, EDM, post-Dub, and Tribal House.

Last Friday, Kah-Lo returned with her official solo debut project, The Arrival, a 5-song EP that takes her sizeable artistic leap from her last collaborative tape. Where her instructive chants and picturesque storytelling on ‘Foreign Ororo’ often acted as another component within the musical wheelhouse, ‘The Arrival’ clearly centres Kah-Lo’s personality, making her an even more magnetic presence on wax. It’s a culmination of her disparate influences—the old school rap storytelling stylings of Slick Rick, the avant-garde siren chants of MIA, her unmissable Nigerian upbringing and connections to its local slang—into a charismatic whole.

“Commandments” is the self-affirming centrepiece of ‘The Arrival’, and arguably the best song on the EP. It is three minutes of mesmerising dance music, powered by an instantly recognisable sample, a beat that shape-shifts from minimalist to maximalist, engaging writing and Kah-Lo’s agile vocal performance. “I left your mans on read last weekend”, she proclaims seconds after the sampled chants of Denise Belfon’s legendary “Put Your Back in it” rings the track in. That cutthroat opening line isn’t even the premise of the song, it’s merely a gateway into unflappable boastfulness, evidenced by the litany of lines sizzling with convincing overconfidence.

After putting an initial pin in any doubts of her cuteness, Kah-Lo segues into an instructive bit on the dangers of wearing jeans to the club but is still supportive all the same because it’s always about having the best time regardless of apparel. Interestingly, this is based on a personal experience from when Kah-Lo ripped her jeans while twerking, giving the song a lived-in edge that makes it all the more substantial. The second verse doubles down on the brags, with Kah-Lo touting her commitment to looking “yummy” when she’s out for a function and referring to herself as her “own sugar baby.”

 

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Co-produced by FNZ, Bijan Amir and Keanu Beats, “Commandments,” most likely unconsciously, seems to take musical cues from one of Kah-Lo’s biggest musical inspirations: Kanye West—especially from his post-Rosegold era. A bass guitar, a synth riff reminiscent of Kanye’s “Fade,” and a four-on-the-floor beat initially surrounds the sample, before transforming into a blaring affair halfway through the song, spotting soaring vocal chants, dramatic strings and a Tribal drum pattern. The awe-inspiring part in how much control Kah-Lo exerts on her surrounding by letting the other elements revolve around her bloodless and vibrant vocal cadence.

If there’s anything The Arrival proves, it’s that Kah-Lo has been growing in the last few years since becoming a Grammy-nominated global star. “Commandments” as the standout track makes all that growth sound effortless, a song on which she’s as bewitching as, say, Cleopatra and as infallible as a model strutting down the runway in 9-inch heels.

Listen to “Commandments” here.


@dennisadepeter is a staff writer at the NATIVE.


ICYMI: 1-LISTEN REVIEW OF ‘LV N ATTN’ BY SARZ & LOJAY

An update on the #June12Protests in Nigeria

Today, June 12 is Democracy Day, here in Nigeria. A day to commemorate the restoration of democracy and a move to civilian rule in the Federal Republic of Nigeria back in the ’90s after several years of strict military rule. Historically, it is supposed to be a memorable day in our country’s past, given that it commemorates the day in 1993 when MKO Abiola was appointed to be the head of state in Nigeria’s first election since military coup in 1983 – a landmark moment that is called the country’s freest and fairest election till date.

Today, the day serves as a reminder of the arduous journey ahead to witnessing true democracy within the country given that it is still plagued with inept leaders, corruptions, state-sanctioned violence, poverty and an unwillingness to develop its growing youth population. This year especially, Democracy Day has carried more weight than ever before, following the horrors that we all witnessed in real-time on October 20 2020, and the horrors that we continue to witness being meted to our fellow countrymen online and offline.

Earlier this month, following weeks of increased insecurity and violence at almost every corner of the country, from Lagos where there were reports of several kidnappings, to kidnappings and abductions across several universities in the country’s Northern region, many concerned Nigerians began planning towards a peaceful protest on June 12. However, as momentum grew, the motivations behind the protest continued to develop and take on new meanings for various people from LGTBQIA+ issues to the multiple political and police killings that persist across Nigeria, the Twitter ban and the government’s lackadaisical response to them.

 

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All across the country, pockets of peaceful protests have sprouted up from Abuja to Ibadan, Lagos, Jos, Osogbo, Abeokuta and Akure, marking the first time that many young Nigerians will rally together simultaneously across several states following last October’s #EndSARS protests. Within the diaspora as well, Nigerian citizens are standing in solidarity with their countrypeople back at home and engaging in peaceful demonstrations in London and more. Back home, however, the government’s reaction to these planned demonstrations and indeed our legal rights as citizens of Nigeria has been anything but encouraging, as the present administration continues to make known that young people in Nigeria needed to “behave” properly in order to be treated with basic decency.

Today, reports of heavy police presence across major cities in Nigeria were reported by several eyewitnesses who went out to peacefully observe the demonstrations chanting “Buhari Must Go”. In Abuja, protesters gathered peacefully on the streets but they were chased away by armed police officers who threw and attacked them with tear gas and live rounds. According to AlJazeera, even journalists and media crew on ground were harassed by security forces who wished to disperse everyone from the streets.

Similarly in Ojota, Lagos, protesters who were gathered on the streets were chased, harassed, beaten and arrested by armed security forces who were looking for scapegoats to answer for the ‘unlawful’ gathering. Mr Macaroni, the comedian and activist who was widely influential during the #EndSARS protests also marched alongside those gathered in Ojota. However, he reported online that warning had been sent that security forces were out to start shooting at anyone who was engaging in protests.

As of right now, it is not currently known how many people have been harassed and arrested by police across the country, however, there is currently a Google Doc currently being shared to fill in all the necessary information needed to find people who have been unlawfully detained for exercising their constitutional rights. If you know someone or have heard of someone who has been taken by police, you can fill in the information below.

This is a developing story and this post will be updated regularly.

Featured image credits/Reuters


ICYMI: Four takeaways from President Buhari’s interview with Arise TV

Review: Wizkid’s Superstar

When Banky W returned to Nigeria from the United States of America in 2009, he went about his music operation like a mob boss. With smoky videos, dark shades, trench coats, and an almost-impenetrable veneer, Banky seemed determined to reform the soundscape of Lagos with his silky R&B-influenced cuts and larger than life personality. To complete his vision of dominance, Banky W set about building one of the most formidable faculty in the music business at the time: in came Niyola, Shaydee, Skales, and, fatefully, Wizkid. It was time to conquer the zeitgeist. Thankfully, at that exact moment, Nigerian music was undergoing a silent evolution; the heads of Mo’Hits were travelling across the world, pushing for afropop’s global  recognition; P’Square, still formidable, were already showing signs of the rancour that would ultimately lead to their split; and 2Face was stuck in creative purgatory as the chill reaction to The Unstoppable proved. All these opened a vacuum at the top for a musician who could merge pop relatability with a magnetic presence for the new generation of listeners who were looking out for someone to reflect their desires, tastes and lived experiences on wax. 

Two days into 2010, Wizkid made his mark with “Holla At Your Boy,” a sunny, joyous pick-up hit that became an ubiquitous presence on radio and TV. Sporting his then-signature plaid shirts and jeans in the video for the single, Wizkid’s boyish charms eased the song about teenage romance into the mind of boys and girls across the country, instantly making him a cult hero. Being young was an added advantage for Ayodeji Balogun, as almost every Nigerian music superstar that arrived before Wizkid came on the scene fully-formed or at least with visible signs of the years spent trying to get to that pinnacle. Wizkid coming into the industry that early, made his connection with the crop of young listeners more genuine, laying the foundation for that fandom which we have seen mutate into a stan base over a decade later. 

With each month that passed in 2010, Wizkid acquired copious cultural relevance and acclaim for his warm melodies and easy smile, and with the social media revolution penetrating Nigeria at precisely that time, his come-up was truly felt on a national scale. What truly endeared Wizkid to the Nigerian audience was his insouciant streak, in his hands, disparate threads of musical history –  R&B, rap, reggae, and Fuji – were woven into a tapestry of sounds that seemed uniquely tailored for that specific moment in national history. The crystallization of Wizkid’s late teenage carefreeness was captured on his debut album, Superstar.

Coming more than one year after “Holla At Your Boy”, Superstar arrived with Wizkid established as a veritable superstar. The project explored the juxtaposition of his new position as an entree into the pantheon of Nigerian pop icons and life in the pre-Wizkid years. Clearly revelling in the attention and opulence that his success brought, Wizkid started the album in defiant fashion. “Say My Name” was a recognition of his position at the center of the new order and a promise to stretch his reach to the end of the world. Even lines about his prolificity are delivered mellifluously: “I keep pushing on, I no retire o/Till the day I die I’m on fire.”

While “Say My Name” was inspired by plans for the future, the song that followed it, “No Lele,” was a wispy look at the past and the experiences that shaped him. Born into a polygamous family and raised in and around the zanga, Wizkid’s worldview seemed to have been shaped by the disappointment and rejection that’s common in such situations all over the world. Memories of that disappointment spilled into “No Lele”, where he sings about making it against the odds and delivering the now-iconic line, “my music travel no visa.” Recognition where he was once rejected also provides fuel for his cathartic singing on “No Lele” as he quipped about being called the one in his ghetto. The same impulses that birthed “No Lele” produced “Oluwa Lo Ni”, where Wizkid hopped from thankfulness for making it in the ghetto to taking aim at hanger-ons taking the plaudits for his success.

Still, for all the personal gratification that success in his ghetto brought, Wizkid was being primed for mainstream success in the part of Nigeria that was not populated by ghettos. Part of the reasons his crossover appeal was successful was the sense of suaveness that Wizkid’s association with Banky W conferred on him. Art primarily reflects society, and Superstar, in some places, followed the formulaic narrative that the moneyed-up raps of M.I’s  MI2: The Movie and Naeto C’s Super C Season set as the  de-facto sound of pop that year. “Gidi Girl” was a classic R&B/hip-hop fusion even if Wizkid delivered both narrative and pathos on the song, mirroring the collapse of both genres into one another in the years to come. It’s a serviceable track that has become a cult classic in certain circles in the years since the album’s release but at that time it was the sort of “clean” songs that many parents would let their young wards listen to.

In many ways, girls are the central theme of Superstar. Wizkid croons about his attraction to them, pleads his case, and muses about their effect on them. Wizkid’s silver-toned voice and the playfulness just beneath his vocals makes the songs exciting enough to blast on cool afternoons. On “Love My Baby,” he makes the most grandiose promises,  promising to treat his lover right. Many Nigerian songs before Wizkid’s songs were premised on women and affection also but, as with most of his earliest works, Wizkid’s interpretations of young love brought those songs into the modern era, accessorising songs about love  with pointedly carnal lyrics and code speak that delighted the growing millennial generation he was speaking to. 

For all of Banky W’s careful curation of Wizkid’s persona and his musical content, the singer was still a product of a Yoruba family raised in Surulere in the late ‘90s to early 2000s. This certainly meant  a certain proximity to the music of Fuji modernizers like King Wasiu Ayinde Marshall, KS1 Malaika, and Saheed Osupa, and you can hear the influences in the music.  “Pakurumo” found him melding the jubilant, polyrhythmic base of Fuji music with the cadence of modern pop music; it’s a masterpiece of rowdiness and chaos as Wizkid hops from the hedonistic to the political over the cheery instrumental, ending with the name-calling that makes Fuji a fizzing genre. 

Long before he descended to a figure of scorn and bewilderment, Samklef was one of Nigerian music’s most inventive producers and despite just getting six production credits on Superstar, his essence is felt over the album even on songs where he is not credited. The most urgent songs on Superstar that add variety to Wizkid’s arsenal are a product of his forward-thinking dalliance with Samklef. “Slow Whine” is a clear-eyed pronunciation of what a typical Wizkid record would sound like as he grew into his stardom, turbo-charged with a delightful Banky W verse. Strategically placed near the center of the project, “Tease Me/Bad Guy” another Samklef placement, showed the sort of bombastic pop that would make Wizkid an ubiquitous presence on the chart in the two years that followed Superstar when he sauntered from song to song dishing out landmark-shifting verses to peers and elders.

It also helps to think of Superstar as Wizkid’s full-fledged E.M.E album; almost a quarter of the songs have a reference of sorts to the label that powered Wizkid’s rise to prominence, some songs are a swearing of his fealty while others are just glib, passing shoutouts. It works magnificently on “What You Wanna Do,” Wizkid lets us into the mechanics of a night out on the town and they involve him, Banky W, and Skales being in the building together and having as much fun as possible while songs from the label are on full blast. “E.M.E Boyz”, however,  an alternate cut of “E.M.E” does not possess the same je ne sai quoi – the flows are rigid and there’s no nexus between Wizkid and his guests even if Masterkraft’s beat rises to the occasion. 

The sequencing on Superstar is at best frenzied, moving rapidly  between themes and ideas before building on them sufficiently but, in the middle of 2011, it worked partly because of Wizkid’s pull and the sheer anticipation for the album. Thematically, the only part of the album that stays consistent is its final quarter, capturing Wizkid at his most rhythmically adventurous as he crafted songs of loyalty and hedonism, hopping from a hard-hitting collaboration with Wande Coal (“For Me”) to the centerpiece of the project, “Wad Up.” If there was ever a quintessential grace-to-grace song on the album, it was this song that found Wizkid and D’Prince in inspired form; still melodious, Wizkid’s voice acquires a gloomy hue to reflect the seriousness of his misgiving about being underrated while D’Prince’s verse cut to the heart of his own personal tensions. Superstardom can be a very lonesome road and near its end, the album became about the people who make that road for Wizkid as he makes a series of dedication to his friends on “Shout Out,” bigging up pivotal figures like Banky W, Wande Coal, then-manager Osagie Osarenz, Ayo Banks, and Rotimi Rudeboy.

Superstar isn’t a concept album, but it does a good job of capturing the life of a 20-year-old in the thick of his visible and excitable upward mobility. Across 17 songs, Wizkid stretches his voice, singing about his grind, seeing the world, talking to his famous crushes, and winning the respect of all those who doubted him. He is clearly delighting in it but recounting it with clear-eyed sobriety. 10 years after, there is no album like Superstar. Wizkid was not necessarily interested in breaking down the thought process for his romantic affectations as he did so eloquently on last year’s Made In Lagos, in a fatalistic sense, it was an album moved by lust and a sneering sense of achievement that arrived at the perfect moment in the perfect city.

Almost every year since Superstar came, artists have come who appear to be projections of Wizkid, trying to conjure the nostalgia of songs like “Scatter The Floor” and “Don’t Dull – a fool’s errand. A  lot of those songs are locked in a time capsule that is no longer accessible, perhaps even to the creator of the songs himself, but we are still saying Wizkid’s name ten years later, just like the first song on the album predicted.


@walenchi Is A Lagos-Based Writer Interested In The Intersection Of Popular Culture, Music, And Youth Lifestyle.


MADE IN LAGOS, SET FOR GLORY

Four takeaways from President Buhari’s interview with Arise TV

Nigeria’s President Muhammadu Buhari is a public figure with sparse public appearances. In the six years since taking the highest office in the country, Mr. Buhari, a former military dictator in the ‘80s, has kept avenues for addressing national issues to the barest minimum. Ever so often, Nigerians clamour for his presence in times of crisis and, more often than not, are typically met with deafening silence. When he chooses to surface, it’s usually through heavily curated mediums, reading pre-written speeches and avoiding any form of spontaneous conversation.

With this precedent, it was surprising to find out that, as part of his visit to Lagos, President Buhari had opted to be interviewed by local news channel, Arise TV. It was his first interview in the two years since winning a second term. Announced on the day of—just hours before it was aired live—its mere occurrence was a unicorn sighting, and many eagerly waited hear from the president on the myriad of issues facing the country. Comprising Nduka Obaigbena and Segun Adeniyi, high-ranking officials in the THISDAY-Arise media group, and Arise News anchors Tundun Abiola and Reuben Abati, the panel enquired on several concerns, especially on the matter of national security and the economy.

While the 45-minute interview can barely be considered a rigorous enquiry, it clarified Mr. Buhari’s opinions on pertinent issues and his plans for the country for his administration’s remaining two years in office. Here are a four takeaways from the interview.

Buhari is very aware of everything that’s going on

Perhaps the biggest, most annoying myth in the last six years is the idea that Mr. Buhari is not in full control of his administration. Partly due to the health issues that kept him in the UK for a prolonged period during his first term, there’s been claims made that his duties and intentions have been hijacked by a “cabal”, a claim that the first lady has been party to a few times. Just this week, in light of the twitter ban, a member of the National Assembly implied that there was a difference between the president and the presidency—to which the interviewer rightly called bull.

If there’s anything this interview proves, it’s that Mr. Buhari is in the full-know of everything happening in the country. Even though his answers weren’t the epitome of directness and clarity, they showed that he pays attention to what’s been said in the media and he constantly seeks and receives reports about ongoing events from those around him. The idea that he’s a senile old man needs to be eradicated, he’s directing the affairs of the country with a lucid mind and he’s doing it how he deems it best.

(It seems) Accountability is not really his bag

In the last six years, the mantra of the ruling All Progressive Congress party has been along the lines of if all else fails, blame previous administrations. It’s a motif that President Buhari clearly buys into. During the interview, he was asked to clarify the constant rumours of the increase in petrol prices and the murkiness of petroleum subsidy. As he did all through, Mr. Buhari refrained from answering directly, instead, he chose to lay blame at the feet of past administrations who squandered public funds from the booming price of crude oil “from 1994 to 2014”.

As much as many will agree that past administrations were fiscally irresponsible, it’s a tired trope to play into, especially since the same issue is plaguing this administration. Corruption is still a huge problem, lawmakers still earn ridiculous salaries and allowances, a bulk of the yearly federal budget is used for debt servicing even as the country’s debt obligations continue to increase. Mr. Buhari does everything other than hold himself and his administration responsible for escalating the woes they’ve escalated, even pointing blame fingers at the low tiers of government and citizens in general.

In the interview, Tundun Abiola asked, “What can you do to make Nigeria a more competitive and more attractive destination for foreign direct investment?” In response, President Buhari first references last October’s EndSARS protests as a march for EndSARS was a march for young people to “remove me,” before going on to lay the entire blame for Nigeria’s increasingly hostile business environment on its youth. “You may have a good degree but you may die without having a job. Why? Because nobody is going to invest in an insecure environment,” he said. “So I told them, I said they [members of the federal executive council] should tell the youth, if they want jobs they will behave themselves, make sure Nigeria is secure so that people can come and invest.” Yikes.

Buhari wants us to be should be appreciative of his administration’s effort

“We have a problem of unemployment,” Mr. Buhari said at the beginning of the interview. “We have a problem of a lot of youth looking, basically, for what to eat, not to talk of accommodation and others. The level of poverty is unimaginable.” It’s another indicator that the president is not entirely oblivious to the challenges in the country, however, it didn’t take long for him to state that the country is faring much better than it is when he took office six years ago, asking us to refer to the people of the North-east and South-south for affirmation of his claim.

In a country being rocked by a nationwide problem of insurgency, banditry, kidnapping, police brutality, multi-dimensional poverty and other terrible systemic issues, the president is seeking for a standing ovation on the basis that he believes things were worse. “Try and appreciate what efforts the federal government has done,” he replied Reuben Abati when asked about the security issues in Nigeria’s northern region, with respect to his administration’s promise to lift 100 million people out of poverty. Even though words were not jumping out of his mouth, Mr. Buhari constantly spoke with an assuredness that his administration has been getting it right all along—and will continue to get it right. Well, I know more than a few people that will rebut with a vote of no confidence.

Is Nigeria’s Democracy a joke?

A big part of the campaign that helped him win the 2015 presidential election was the projection that the former military dictator had returned as a reformed democrat. Since taking office, though, he’s leaned into autocratic ideals on several occasions, disregarding the rule of law and the constitution at will. Just last week, his administration suspended Twitter in the country, in retribution for the removal of a tweet widely considered as a threatening invocation of Nigeria’s genocidal past. When asked about it, he replied, “I will keep that one to myself.”

As annoying as his unwillingness to be held accountable for such a weighty decision is, what’s more sinister is the chuckle he let out, which led to a room briefly filled with laughter—I still don’t know what’s funny. In his six years in office, Mr. Buhari’s administration has routinely undercut free press ideals and continues to trample on public freedom of speech, especially with its attempts to restrict and regulate social media usage. The suspension of Twitter’s operations in the country is a clear attack on the civil rights of Nigerians who’ve constantly taken to the platform and other social media platforms air out systemic grievances and organise for our voices to be heard in protest.

It’s his latest autocratic move in a country that’s (supposed to be) running a democracy, and nothing about it warrants a chuckle. In another grim example that hints at a seeming chagrin at democracy, Mr. Buhari fondly recalled the era of military regimes, explaining how the fight against corruption involved taking suspects to jail and treating them as guilty until they prove themselves innocent. Considering his administration’s track record for violating the rights of citizens, detaining and re-arresting individuals against court orders, amongst other indicators, the reformed democrat might not really be reformed after all.


@dennisadepeter is a staff writer at the NATIVE.


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