How Blaqbonez successfully secured a return of investment on his music

Last week, Blaqbonez released his sophomore studio album ‘Sex > Love’, a charming collection of anti-love anthems that revealed the rapper’s growing penmanship and his knack for instantly catchy melodies. The project runs the span of different moods with the rapper at one moment delivering slinky, mid-tempo Afropop and at another, resorting to a blown-out Trap beat, both aptly providing the perfect backdrop for his vivacious rap flow, and restless melodies. 

Although it’s only his second LP, serving as the official follow up to the M.I-executive produced debut ‘Bad Boy Blaq’ in 2018, it’s arguably his tenth official project throughout his entire career having already released a number of mixtapes and EPs including 2017’s ‘Last Time Under’ and 2019’s ‘Mr. Boombastic’. Each project marked an era in Blaqbonez’s professional life and fine-tuned him into the well-oiled machine he is today. That is why his near residence atop the Apple Music charts in Nigeria this weekend and his debut in the top 10 on the TurnTable Top 50 charts are welcome and expected. This is an artist who has been patiently putting in the consistency and hard work which seems to finally be paying off.

 

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For a rapper that’s still relatively young in the game, Blaqbonez’s work rate so far is incredibly phenomenal and nothing short of awe-inspiring considering the singles-driven market that dominates the Nigerian music industry. To have amassed over eight projects throughout the span of his career is a testament to his restless and hard-working spirit which always has him consistently self-promoting his rapping abilities. 

The magnitude of his current win is felt because we’ve all had front-row seats to the journey behind his gradual progression. During a career-defining run in 2017, Blaqbonez released his seventh mixtape ‘Last Time Under’, a pivotal creative turning point where he first showed the workings of an artist on the cusp of explosion into stardom. He didn’t hack the winning formula immediately, in fact, it took time for his blend of bar-heavy Rap music and his penchant for spacey Trap production to win over the hearts and minds of audiences at the time.

Even still, Blaqbonez did not give up. The next time he was creating a project, he once again made a play for expanding his sonic range, this time catching the attention of M.I and Chocolate City, the label under which he is currently signed and operates. Blaqbonez’s star power has only continued to shine brighter as he’s advanced in the industry providing a working benchmark for what other artists can aspire to if they put in the right amounts of consistency and hard work.

Speaking to Apple Music in a recent interview, the rapper shared that “An important thing for me is giving you something different with everybody of work,” and it’s this effort to level up with each body of work that has fashioned Blaqbonez into the creative powerhouse he is today. Whether listeners are coming in touch with Mr. Boombastic or Emeka the Stallion, they can be guaranteed that the rapper will consistently be aiming to top his last effort.

Although everyone has their own journey that determines the course that their life would take, it’s hard to imagine anyone better suited for this moment than Blaqbonez. Social media is constantly awash with screenshots, pictures and videos of the rapper aggressively self-promoting himself and his music. It’s impossible to not want to see the rapper win because his wins are almost ours given that we’ve been subjected to months and years of his rigorous self-promotion social media savvy techniques. 

With an infectious larger-than-life personality and his overwhelming sense of confidence in himself, Blaqbonez has successfully relied on his charm to get him ahead. When Burna Boy’s “Kilometre” knocked out his Amaarae and Buju-assisted single “Bling” from securing the Number 1 spot over the weekend, the rapper had taken to social media to plead with Outsiders to stream his music and boost it to the coveted top position. He worked hard to convince everyone that he’s every bit as good as he thinks he is, and now the music is finally catching up to his self-proclaimed title as the ‘Best Rapper in Africa’.

Blaqbonez’s current win is even more monumental when you take into account the fact that he’s winning alongside a fellow rapper and MAVIN signee, Ladipoe who also topped the Apple Music charts this weekend with his new single titled “Feeling” featuring Buju. To understand the importance of a moment like this is to fully appreciate the long-winded battle that rappers in Nigeria have had to face to earn their stripes in the music industry. There was once a time that rappers were premiere acts for record labels in Nigeria–during the dominance of Strom Records in the noughties which saw the rise of artists such as Naeto C, Sasha P, and more. In the years since then, it hasn’t been an easy feat assessing the commercial viability of rap music but we’re now coming into times where the new vanguard of Afropop hitmakers are consistently working to show the world that African music can be multifaceted and diverse covering a range of genres. 

This weekend, while we celebrated career-defining milestones from artist management powerhouses, Mavin and DMW which just celebrated 10 years of Davido marking a decade since he released his smash hit “Back When”, it’s interesting to see how much perceptions of a superstar has changed and developed through the years. With their joint win, this week, both Blaqbonez and Ladipoe, who are known to embody authenticity in their creative output, now represent a welcome change in the way that the Nigerian music industry currently operates. Hip-Hop may slowly be regaining its stripes, and now the numbers are there to back it up. All in all, on ‘Sex > Love’, Blaqbonez delivers his most self-assured offering to date and one that listeners will surely want to blast on repeat in the weeks and months to come.

Stream ‘Sex > Love’ below.

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ICYMI: A 1-Listen Review of Blaqbonez’s ‘Sex > Love’

For Us By Us: Life as a young, neurodivergent Nigerian

As we all know, conversations surrounding mental health are far from an accurate representation of what actually is. Given society’s codes and cultural beleifs, there is heavy stigma against people who are living with mental disabilities, especially when it comes to the point of needing and seeking help. According to the World Health Organisation, one in four people is dealing with a different mental health issue, however, access to the right psychological and medical care is not easily obtainable for these people.

In a country with an estimated population of over 200 million people, these figures are steep when you also take into consideration the dearth of medical facilities focusing on the mental health and psychological needs of patients. According to reports, there are only eight federal neuropsychiatric hospitals in the country which are severely underfunded, understaffed, and inadequately managed to treat the country’s neurodivergent citizens.

This is dangerous for those who live with this reality, as untreated illnesses are more likely than not to worsen and aggravate over time, leaving many people vulnerable to the harsh realities of navigating a neurotypical world whilst neurodivergent. For many young people, it can take years before they receive any substantial mental health diagnosis, which could either be due to their own fear of what’s going on with them, or a fear to share e their struggles with a world that constantly chooses to misunderstand them.

That’s why this Mental Health Awareness Week, we are fostering and encouraging the difficult conversations about our struggles with mental health to make it easier for ourselves and those closest to us to heal holistically. One member of our community admits that she was ashamed of her mental illness for so long because it made her feel weak especially in comparison with her mother who society had labelled strong. However, she kept spiraling and working through countless depressive episodes before plucking up the courage to seek out help from those closest to her. Like many of her peers, she had used unhealthy avoidance tactics to temporarily solve the problem, which didn’t gain desired effect. So rather than speculate and guess, we decided to hear directly from the people within our community, and they’ve kindy shared what it’s really like to be living with a mental illness in a country like Nigeria.

With the new Lagos state tele-therapy services called ‘The Lagos Helpline’ being rolled out in the past week, we decided to speak to 5 young Nigerians about their experiences living with mental health disabilities in Lagos.

 

I have been diagnosed with a generalised anxiety disorder for about 10 years now. In 2011 when I was 17, I had my first depressive episode, and I’ve been on this journey since then. My symptoms have existed for long before I was diagnosed, pretty much for as long as I’ve known myself, but I didn’t have the correct language to express how I felt. It took me a while to open up fully about what was going on with me, because it took me a while to accept it myself. I’m only starting to see the beauty in the way my mind works and seeing that rather than something that holds me back, it gives me a unique perspective. I haven’t always welcomed that unique perspective, and society, in general, doesn’t welcome anything that’s divergent from the norm, so I lived in a constant battle for a few years.  

D, 26, F.

One year later DETO BLACK’s first official single, “Tesla” is here

On Thursday May 13, Odunsi’s path-altering EP, ‘EVERYTHING YOUR HEARD IS TRUE‘ and it’s standout record, “body count” turned one. To commemorate the day, the song and EP’s breakout star released her first official single, a soft-toned, loud-mouthed anthem for the bad bitches she’s been telling her aunties about the past year.

The star in question is DETO BLACK, and her new, debut single is “Tesla”. As the sirens blare through the speakers, DBlack is pictured strutting towards her vanity plated Tesla, customised with gemstone rims and a bedazzled steering wheel to match her dancing front teeth which part seductively biting her intimidating chrome nails. It’s no wonder “bitches so obsessed with [her]” as she professes on the opening bar of the track; Deto Black is a moment, and this is her moment.

Back on an Odunsi (The Engine) production, “Tesla” is predictably self-affirmative, as is Deto’s brand of… well everything. As her shadowed face she flirts with the hand-held camera in the intimately shot music video, I am reminded of the opening scene in Beyoncé’s “Ring The Alarm” – not least because of the sirens that consistently sound through the two-minute record. But where Bey passionately sings in pursuit of her man, and defense of her relationship, DETO BLACK calmly dismisses her ex with a quick one-liner before she gets down to business.

It’s a shot she’s taken before, on her verse on the leaked “FRANCHISE” refix. After playing on her likeness to Nicki Minaj – “I’m a motherfucking monster” – DETO BLACK’s opening bar on the track’s final verse follows, “broke up wit my ex then I turned into a rockstar,” celebrating the freedom she’s found since she left that lame niggga from her past life (so she spits on “Tesla”). From her very debut on “body count” to her TTG (Trained To Go) CRACK freestyle, “Pop Sh*t”, Deto Black has consistently empowered herself in relationships, whether she’s taking charge in sex, prioritising her pleasure (both carnally and in terms of her welfare), or simply blocking men who can’t get with it. In the wider Nigerian society, she’d be considered something of a radical for her sex-positive female-centric lyrics; but as she told Vogue last year, DETO BLACK is simply “doing the Lord’s work” for young, African women who have a myriad of oppressive conducts to manoeuvre, including patriarchal standards projecting themselves into heterosexual relationships.

Her lyrics aren’t her only offensive tool in her rage against the system. Prior to the advent of her instantaneously prolific music career, DETO BLACK already established herself as a creative and thoughtful image-maker. And in her imagery, she similarly defies social standards with her iconoclastic fashion, captured quintessentially in the lurid video for Thursday’s “Tesla”. Speaking with Paper Magazine, Deto shares that her direction for this “powerful and sexy” music video was centred around her “idea of what it means to be a Black African woman and a rock star; the perfect blend of divine feminine and masculine energy.” In a conversation with BRICKS Deto further stated of the record, “it’s a very sexy song where I try to make the girls feel like their sexuality and sensuality are superpowers.”

Not only does DETO BLACK embody sexual freedom in her bars and across her visual media, sensuality is a sermon Black preaches to other women, channelling sextivists that came before, from the anti-heroes of ’00s Nollywood to sexually liberated rap icons, including Kelis whom she references in the music video for “Tesla” and previously borrowed hairstyles from with her green/blonde two-tone dye job. All over her Instagram Deto’s media tells of her angst from society’s patriarchal binary gaze, an archive of her ascent to icon status.

 

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“One time, a young Nigerian girl told me my music made her feel proud to be Black and that she was capable of doing anything. That made everything feel worth it,” DETO BLACK shared with CRACK in the premiere for “Pop Sh*t”, emblematic of her influence within her Nigerian community and indicative of the long term impact her career is set to have on the industry.

Somewhere in my drafts is a piece detailing how “body count” changed everything. On fan favourite, Amaarae and DETO BLACK shun misogynistic expectations from society, and, along with Gigi Atlantis, encourage women to do the same, through the medium of sex. “body count” doesn’t feel like women being given a space, it’s women owning the space, commanding the space and inspiring us all to take up space; in the year since, we have seen a certain rise in a number of women from Black’s cohort doing just that. 

Now, rising rappers within the non-conforming Lagos creative scene – names such as T6lu, L0la, Brazy, ytboutthataction, SGaWD, DEELA, Ictooicy – command the attention they deserve, in their multiplicity, not simply as tokens; and Amaarae and Deto Black’s verses of the year on “body count” marked a critical point in the community’s immersion in rising female rap. Increased visibility of women in rap is not unique to the alternative Nigerian music scene. In the dominating American music industry, more and more women are enjoying commercial success in rap and the progressive politics, that demands greater and fairer opportunities for women responsible for diversifying hip-hop, are the backbone of the counter-grain, revolutionising alté community. These are the ideals Deto Black embodies, and the politics that attract not only a youthful, empowered audience, but also industry heavyweights who have their own various experiences of the perils of capitalistic conformity.

Appearing alongside Skepta on “FRANCHISE” and in his recent SkAir 5, though their growing up experiences and the way oppression manifests in their lives might differ, as a black man raised in the UK and an African woman, both Deto and Skepta’s lyrics and message are lined with an understanding that the world placed them at a disadvantage for sole gain of the white man. That will not stop them from getting it though.

In spite of the pandemic, DETO BLACK has been working continentally, from Lagos, to London to LA, even linking up with Young Thug in Atlanta. It is in link-ups and co-signs such as these, including most recently a nod from Theophilus London, that DETO BLACK has kept fans on the edge of their seats for her music.

Her’s has been an interesting, noteworthy breakout year. “I’m a busy bitch, you a basic bitch,” Deto brags (not without slamming a couple counterfeit competitors, of course) about her fruitful year since her first ever appearance on what I wouldn’t hesitate to name the song of the year. In the Nigerian music industry, where quantity is key, and new artists emerge from the woodwork monthly, frequent releases are advised. Teni, for example, after the epic couple of years she had, between 2018 and 2019, lost her steam once the pandemic hit, stalling her debut album. On the other hand, thanks to backing from the Mavin industrial machine, Rema rose to instant stardom with his debut EP and has maintained his spot at the top with consistent charting singles and a strong media presence. DETO BLACK certainly has the latter, and has kept listeners gagging for the former – no album out.

It’s cosmic timing that DETO BLACK’s debut single coincides with the re-release of Nicki Minaj’s breakout mixtape, ‘Beam Me Up Scotty‘. This past year has be DBlack’s ’09. Deliberately lo-fi, DETO BLACK’s studio shoot for her “Pop Sh*t” Freestyle is her very own tribute to “Itty Bitty Piggy”, a preemptive diss to whoever dares to come on smoke; where Nicki rounded off in 2009 with “I win, you lose,” Deto picks but up, 11 years later, on “Pop Sh*t” saying, “I don’t start no fights but I can finish ’em.” Again, delivering the most memorable verse of the track alongside an all male cast, including the Grime veteran Skepta, “FRANCHISE” is an effort not far off Nicki’s spot on Young Money’s “Roger That”, full of cheeky brags and hard-hitting, memorable bars.

When asked about her plans for early 2021 back in October last year, DETO BLACK answered, “I have no idea and it’s so exciting.” A slight disappointment for fans who were expecting new music, the time has finally come, Deto’s ‘Pink Friday‘ moment is here. Though the content will certainly differ – it’s not ‘Pink Friday‘ – the impact of this imminent EP is poised to be just as defining, for both Deto Black and likely the heavily contested arena of rap in Nigeria – whether you like it or not.

As with everything the self-professed creative polymath does, it’s hard to know what exactly to expect. One thing we can be sure of, “that freaky shit!


Featured Image Credits: Deto Black/Instagram

ICYMI: HOW BLAQBONEZ SUCCESSFULLY SECURED A RETURN OF INVESTMENT ON HIS MUSIC

A Round up of our inaugural TheNATIVE Wellness Hub

From being forced inside indefinitely as the Coronavirus pandemic ravaged the earth, to witnessing our people all over the world victimised by the very officers sworn to protect our lives, this past year has been laced with tragedy, characterised by trauma which has had an adverse effect on everyone’s mental health. So, this year’s The NATIVE marked Mental Health Awareness week with a plethora of resources to help our community understand and properly care for their mental wellbeing.

As part of our Mental Health Awareness Week, NATIVE partnered with Eudaimonia Wellness for ‘The NATIVE Wellness Hub’ on Friday, a retreat that allowed a few members of our community to take a break as the week rounded up. The day was filled with restful and mindful activities that centred our guests, as well as thoughtful conversations that enabled us to share our own perspectives and digest the wisdom of others. Overall, throughout the day, we learned the best ways to look after our mental health and the wellbeing of those around us.

Kicking off with a Pilates class led by The Store House, Friday’s retreat included a conversational painting sitting, courtesy of The Art Room, where our guests flaunted their artistic skills through meaningful paintings that affirmed and manifested positivity through the use of colour. The following session was led by our Managing Editor, Damilola Animashaun, who shared her experiences with music journaling. Listening to songs such as “Born Tired” by Jhene Aiko and Tems’ “Free Mind” the music journaling session encouraged our community to find new meaning in songs, and to use the words and melodies of others’ healing to engender our own. With tears, laughter and engaged conversation, this activity was a moving end to a peaceful day.

Brought to you by Eudaimonia and The NATIVE, this weekend’s Wellness Hub was an opportunity for our guests, currently going through stressful times, to push pause, reset and re-centre, in order to ensure that our days ahead stay brighter than the dark times we have overcome.

Watch a round up of the day’s events below:

 

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Featured Image by Dante Karibi-Whyte for The NATIVE Wellness Hub

ICYMI: For Us By Us: Destigmatising Drug Use In Nigeria

AV Club: How Kayode Kasum’s film ‘This Lady Called Life’ examines verbal abuse at home

Last month, Kayode Kasum’s 2020 film ‘This Lady Called Life’ saw its digital release on Netflix Naija, eliciting positive reviews from the new set of viewers acquainted with the film. Viewers commented on the ways in which the director had dealt with parental abuse, anxiety, insecurities and more, all through the lenses of a single working mother trying to make it in life for her young son–who we later learn is actually begotten from sexual abuse.

Navigating life as a single mum fuels the actions and motivations of the lead character, Aiye (played by Bisola Aiyeola), however, the film’s main plot follows the budding love story between her and Obinna (played by Efe Iwara). It tracks how the pair handle the challenges coming their way while working through Aiye’s years of trauma, and ending in true Nollywood fashion with a wedding. While Nollywood is never lacking in its arsenal of love stories, the sub-plot that unpacks verbal and emotional abuse is worth giving this film a watch, as it tracks how these triggers can manifest in our adulthood.

 

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Our relationship with our parents and our primary family unit frames is our earliest source of socialisation during our formative years. It has a bearing on how we relate with the world, how we relate with other people, and most importantly, how we relate and view ourselves. In ‘This Lady Called Life’, we see that Aiye’s upbringing with a verbally abusive mother has scarred her and left her feeling unsure of herself and her abilities.

Aiye is a gifted cook. She knows beyond the rudimentary education of working as a professional cook but she’s been down on her luck struggling to make ends meet in a city like Lagos. But Aiye is buried in self-doubt about her capabilities. We see her constantly mulling over the actions she wants to take, but can’t. We hear the words she chooses not to say out loud to others around her. We see her dreams and her fears and the face she puts up to the people around her.

She even has nightmares of flopping on stage during her chef presentation while her entire family is in the audience. When Aiye takes centre stage to deliver her presentation, she chokes. She’s somehow gone mute and no matter how audible she tries to be, the angry crowd jeers and sneers at her, including her mum who’s front row to her worst nightmare armed with insults, make her feel worse. Because she has internalised years of criticism and berating from her mother, she’s constantly afraid of making any big steps in her life. 

When Obinna signs her up for an audition for ‘Amateur Chef’, she almost self-sabotages her chances by reliving her nightmare in reality. During her audition, she stumps again just like her nightmares. She also has a lot of inner conversations where she doubts that she can be successful or make it in life. However, it’s constantly overthinking that almost ruins her chances to succeed. 

In Michelle Obama’s Netflix documentary, ‘Becoming’, she points out that she was seen and heard while growing up, therefore when she went out into the real world and found that wasn’t the case for Black women, she struggled to understand why. For women like Aiye, she grew up being told she was a mistake and she was a failure at everything because she had a child out of wedlock. These words constantly ring in Aiye’s head when she grows up, negatively impacting the voice in her head so that she’s constantly putting herself down and feeling insecure about her abilities. 

While Kayode Kasum examines the source of the scar, he does not go any further than this. We learn that her mum is traumatised coming from a family which never showed her love and validation because of the mistakes she made as a young woman. In her efforts to punish herself because of years of being told she was worthless, she distances herself from her children while they are growing up and becomes overbearingly abusive to them to steer them off the same path once followed. Her plan backfires because the more she lashes out at them with her words, the more they internalise and believe that they are not worth anything and neither Aiye nor her sister ever feels like she can confide in her mother when Aiye is raped and impregnated. 

Watching moments where Aiye’s mother (played by Tina Mba) lashing out insults in her native tongue, Yoruba is particularly hard to get through for any African child. For most of us, growing up was a series of verbal and physical punishments from parents, family members and even teachers. We see the effects in our society today where children have negatively reinforced all their lives and are unable to form a strong sense of identity as adults and an inability to question unfair treatment. 

Aiye is able to confront her mum and stand up to her when it affects her son. When her mother physically assaults her son, Aiye lets out pent-up years of the anger of enduring the shame her mother felt towards her. It is a cathartic experience for her where she yells, Your shame is your shame”, reclaiming years of her self-confidence lost to shrinking herself. However, this release is one-sided as Aiye’s mother only regrets her actions because her daughter reveals she was raped. She further apologises when she narrowly escapes death and realises the value of her daughter, Aiye’s life.

In parent-children relationships, it doesn’t have to get to the point of such a revelation for an adult to realise that they shape a child’s world view and frame how they would also relate with their own offspring. It’s a vicious chain that’s been known to cause depression, anxiety, anger, hostility and dissociative disorders in people. ‘This Lady Called Life’ is a recommended watch, especially as its Mental Health Awareness Month. At the NATIVE we encourage our community to seek out unhealthy patterns and foster healthier and safer communication skills with everyone around us.

To help you on your search, we’ve put below are a few websites to get you started on your journey of healing. Although they are not specifically tailored to the Nigerian experience, these websites have proven helpful to us, and we hope they will be to you also.

Positive Psychology 

We Have Kids

Help Guide 

Psychology Today

[Featured image credits/Netflix]


ICYMI: HELPFUL RESOURCES FOR #MENTALHEALTHAWARENESS

NATIVE Premiere: Watch Ruger in the new video for “Bounce”

21-year-old Jonzing World signee, Ruger has spent most of the year convincing listeners of his star power. Arriving on the scene back in January with the anthemic debut single “One Shirt” featuring label mates D’Prince and Rema, the singer, songwriter and producer’s instantly catchy melodies proved to be a worthy introduction to his undeniable talent.

His debut EP, the 6-track ‘Pandemic’, was replete with club bangers and heart-throb romance numbers, all created during the COVID-19 lockdown last year. The short and sweet project saw him take on different forms, which showcased his impeccable ear, genre-melding sounds and appreciation for cadence and melodies. “Bounce”, an instant standout from the project seems to have received the most love from fans around the world, and now, Ruger has brought the music to life with a new video.

Over the song’s bouncy Afro-reggae production by KukBeats, Ruger sings “Wiggle that booty and whine for me, So crazy you drivin’ me/ Girly put it on me nicely, she ridin’ it, am slidin’ in” directly addressing a romantic interest and revealing his desire to be physically intimate with her. Speaking about the single, Ruger reveals that his goal is to see “the whole world on their feet”, a sentiment that feels like the driving force for most of this song.

The energy-filled visuals for “Bounce” find Ruger in his element showing his boyish charms while bringing the song’s sensual message to life. We see shots of Ruger and his muse, played by brand influencer and director Naomi Offor, as the pair share intimate and cosy moments in a range of locations. As night falls, Ruger throws a party to celebrate his love and their union. However, at the party, things take a turn for the worse when his muse is physically harassed by another male guest. This causes Ruger to spring into action and defend his woman, while also giving her a chance to seek her revenge on her assailant.

The visuals for “Bounce” is enough to conjure therapeutic levels of excitement given the constant gloom of the past few months as they offer a glimpse into the sort of artist that Ruger could potentially become with more skin in the game.

Get an exclusive first look at Ruger’s “Bounce” below.

Featured image credits/JonzingWorld


ICYMI: Burna Boy’s ‘Kilometre’ debuts at No.1

Turntable Top 50: Burna Boy’s “Kilometre” debuts at No. 1

After winning the Grammy for Best Global Music Album earlier this year, Burna Boy has taken it upon himself to publicly enjoy a victory lap and it appears listeners are in agreement. His ultra-catchy, self-reverential “Kilometre” debuts at pole position on this week’s edition of the TurnTable Top 50 charts. It’s the first headlining solo single since last year’s acclaimed ‘Twice As Tall’, and the brief heat check indicates that Burna’s ongoing prolific run continues to prove popular.

“Kilometre” isn’t just No. 1 this week, it’s also set a few records of its own. It’s the first song by a solo artist to start its Top 50 stint at number one, and it’s also the first song to simultaneously top the streaming chart and radio airplay chart as well. “Kilometre” is Burna’s second time at the top of this chart, following the inaugural No. 1 stint as the featured artist on Wizkid’s “Ginger”. It makes him just the third artist with multiple No. 1s, joining Davido and Omah Lay who had previously held a 26-week long duopoly at pole position prior to this week’s chart edition.

After four non-consecutive weeks at the top, Gyakie and Omah Lay’s “Forever (Remix)” drops one spot to No. 2 this week, while Wizkid and Tems’ “Essence” remains at its No. 3 spot from the previous week. Cheque and Fireboy DML’s “History” also remains at its peak No. 4 position, Jae5’s “Dimension” with Rema and Skepta moves up one spot to round out the top 5, while Peruzzi and Davido’s “Somebody Baby” moves down from No. 2 to No. 6. Chike and Simi’s ubiquitous collaboration, “Running (To You)”, enters this week at its peak No. 7 spot, while Blaqbonez’s “Bling” (8) is the first top ten entry for the Chocolate City-signed rap artist and his collaborators, Buju and Amaarae.

Teni’s former, history-making No. 1 single, the Davido-assisted “For You”, drops down one position from No. 8 to No. 9, with Davido’s “La La”, featuring Ckay, rounding out this week’s top ten following the release of its accompanying music video. Just outside the top ten is Adekunle Gold’s introspective single, “It is What It is”, which debuts at No. 11. You can check out the full rundown of this week’s TurnTable Top 50 here.


ICYMI: APPRECIATING BURNA BOY’S PEERLESS CREATIVE RUN SINCE HIS REBIRTH

Best New Music: Ladipoe lands another hit with “Feeling”

There is no doubt about how bright Ladipoe’s star is currently burning. Last year, the self-appointed Leader of the Revival consistently delivered on his best form, garnering considerable fanfare all year, all without releasing an album. Instead, he leaned heavily on his loyal fanbase and his vision to become a beacon of light for the next generation of rappers, sustaining momentum throughout a year that redefined the way we experienced and consumed music.

Last year, he scored one of the most ubiquitous anthems of a self-isolated summer with “Know You”, his collaboration with Simi which went on to bag the Headies Award for Best Collaboration at the most recent edition. The Teni-assisted “Lemme Know (Remix)” followed shortly after, and Ladipoe used it as an avenue to pique the interest of music lovers everywhere when he opened submissions for a freestyle challenge.

This year, while he’s already served up the hard-hitting prophetic single, aptly titled “Rap Messiah”, which speaks true to his rapid-fire lyricism and rapping abilities, it’s his recently released single, “Feeling” featuring controversial singer, Buju, that solidifies Ladipoe’s position as one of the most dynamic hitmakers in the country.

 

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The Andre Vibez-produced “Feeling”, captures the beauty of focusing on the uplifting experiences in life and encourages listeners to be present in each moment. Buju opens the song with an instantly memorable hook, “I like the way I’m feeling now/No come use your reggae spoil my blues and rhythms now” he sings, setting the tranquil scene for the rest of the number which finds both artists in a state of unflappable chill.

As Ladipoe takes centre stage, there’s a quick shift in gears. He starts the song self-assuredly singing “Way out my feelings and nothing can stress me’,  quipping about his unperturbed state of mind and how it helps him move with purpose and take measured steps. On the song’s second verse, Ladipoe pulls the legendary move of self-sampling saying, “All I wanna do is Jaiye,” in reference to his sunny 2019 single. For those who have paid close attention to Ladipoe all these years, this self-assuredness and conviction in his dazzling rap skills is nothing new and he certainly affirms this by worthily flexing and referencing a pivotal moment in his career.

It’s Ladipoe’s commitment to living a full and stress-free life that underscores everything he preaches about, and what we’re seeing pay off for the rapper with each drop. Buju also rounds off the number with a quick solo performance singing “they gats fear when they see boys/we roll up in nice toys” cheerily boasting to the good life he now enjoys after many years of dreaming of this exact moment.

The sweet spot on “Feeling” is the union of vocals between Ladipoe and his guest. They’re both able to hone their individual sounds and increase the gravity of their reach much like the early noughties formula of pairing an R&B hook with a hard-hitting Hip-Hop/Rap verse. The idea of inserting melody into Hip-Hop is not new at all and has been done by some of the most notable rappers today including Drake, LL Cool J, Diddy, and more. Ladipoe adopting a similar formula is only a testament to his growing artistry over the years, adding to the foundation of legendary pairings over the years like Wande Coal & Naeto C, MI & Jesse Jagz, and many more.

When we last spoke to the rapper, he shared, “I’ve elevated from thinking that when I hear a song, I have to rap the sickest verse, to ‘when I make music, I need to make a great song”, typifying his current attitude towards approaching his craft. On “Feeling”, we can hear the sonic manifestation of his earlier statement, Ladipoe is focused on redefining what rap means to the world, whether that’s by inserting a melodic hook or by experimenting with the tempo at which he delivers his verses. It’s this penchant for staying ahead that has now led him to this moment he presently enjoys.

Currently, “Feeling” sits comfortably at the #1 spot on the Apple Music Top 100 charts in Nigeria, and at #10 of the Audiomack all-genres charts, his second #1 in the past year. This moment is made all the more special given that Ladipoe is a rapper signed to one of the major labels in the country, particularly one which has nurtured and built up Afropop stars through different generations. Back in the noughties, labels such as Storm Records ushered in a new generation of rap stars including Naeto C, Ikechukwu, Sasha P and more, who were regarded as the mainstream acts of the time. Although Rap music doesn’t enjoy the same dominance as it once did in the industry, moments such as Ladipoe’s current winning streak certainly show the workings of an eventual comeback. This is certainly bolstered by the fact that “Feeling” claimed the top spot from another rapper—Blaqbonez’s “Bling” was previously at that peak spot.

Ladipoe is certainly no stranger to everything he’s currently experiencing. He’s bet on himself and his abilities consistently and this sets him apart as he continues to push against the boundaries of what’s possible and acceptable from a rap artist in the industry.

Listen “Feeling” below.

Featured image credits/Instagram:scrdofme


ICYMI: A 1-Listen Review of Shekhinah’s sophomore LP ‘Trouble in Paradise’

For Us By Us: Destigmatising drug use in Nigeria

When Odunsi (The Engine) sang on Amaarae’s album closer, “Swallow all those pills/Still ain’t gonna heal,” I felt that.

Suffering from a recurring depressive disorder, milder variations of pills and potions are a staple on the Down-Bad menu for me. For getting through each difficult day, I usually reward myself with a glass of wine or a cocktail, if things are getting particularly trying, I opt for a drink then and there. Pretty much dependent on alcohol to cope with stress, my drinking habits are akin to addiction and an indication of a deeper psychological issue, so professionals say. Similarly, when I kick back tequila (which I HATE) at the cub or snack on some edibles (which always make me feel sick) before an event, this is a form of self-harm that I am using as a coping mechanism for social phobia. Or when I ramp up my use of [redacted] because I’ve noticed it makes me lose my appetite, that’s an eating disorder manifesting itself in a new way. These behaviours aren’t exceptional to me, nor are they uncommon. I’m sure a few readers will be able to relate, or at least notice these behaviours in someone they know. This is because our mental health is suffering, especially during these troubling couple of years, and oftentimes the easiest way to deal with it is to not deal with it at all – where intoxicating substances come in.

Most prevalent in young Nigerians between their 20s and 30s, substances (ab)use is a common form of self-medication in these parts, for depression and other undiagnosed mental health issues. Especially as the stigma against mental healthcare remains particularly hostile, a lot of young Nigerians look to drugs – as opposed to professional help or psychological resources, which are scarce and fiscally inaccessible to most Nigerians – to help them simply “feel better,” an innocent, albeit harmful, coping mechanism that could open up worlds more pain.

Releasing a three-track EP, ‘Meraki’ last October, to mark one year of sobriety, Rookie SBK started in this fashion, using drugs to pass the time he was at Babcock University, “aka the trenches.” A performing member of the TRYBE and Fresh Meat alumni group, Forevatired, in his uni days (and to an extent still now) Rookie was a bona fide shy guy. Stuck in an unhappy place, this period became an unhappy time for Rookie, but with the help of a new friend, bouts of euphoria were not only possible, they became regular.

“I guess codeine was my gateway drug”

For most people, weed and alcohol is where they make their start, but for Rookie SBK, it was something most would consider a little “harder” than the legal alcohol or the so-common-it-might-as-well-be-too weed. “I tried codeine first and fell asleep on my ass but didn’t get hooked. Not long after that, I started sipping codeine proper, weed followed and then other drugs as well. I guess codeine was my gateway drug,” Rookie tells me over IG DMs where he openly shares with NATIVE his year-long road to sobriety. A “gateway drug” is a substance that leads its user to use of, and potential subsequent addiction to, more dangerous drugs. Rookie started with codeine and continued on with weed, molly, booze and other substances; Bentley (a source who asked to remain anonymous) started with weed and went on to add MDMA,  LSD, Nos and Mushrooms to his repertoire, similar to guitarist, Bendrixz (“Obe”, “Your Love” and “Abena”) who went from cooking up WEEDOMIE (yes, weed and Indomie) to toying with a few other common substances, including molly.

My gateway drug was the liquor, and though, like Bentley, it led me to use of but not dependence on “hard drugs”, I very quickly after my first house party developed an alcohol addiction (which is apparently if you drink more than. From mine, Bendrixz’s, Bentley’s and Rookie’s experience, I see why Dr Momodu, who works in general adult psychiatric care, would say, “it’s better not to start.” Using alcohol as a specific example (as Bentley states, “Anything that causes a chemical reaction or imbalance to your mind or body” is a drug), Dr Momodu explains, “assuming that [one doesn’t] start, the opportunity to move from social drinking to regular drinking to addiction will not happen.” She does appreciate though, that the reality for many people is not so black and white, especially when it comes to people who are suffering from mental illnesses, who might not understand their symptoms or who don’t have the knowledge or context that would encourage them or afford them to seek professional help.

“We are not a mentally aware society, so people have symptoms and they really don’t know what to call it, they just know that they’re not feeling great, they’re just not happy. They don’t know that maybe this is depression and they should go to the hospital, for example, they’d rather speak to a friend who has also probably had that experience and says, ‘oh somebody gave me this,’ and then you use it.”

In my conversations with Dr Momodu, Bentley, Bendrixz and even Rookie, friends seem to be a huge part of how people get introduced to drugs. Rookie observed his classmates successfully do drugs without losing their minds or flunking in class, which led him to believe he could too, whilst Bentley and Bendrixz began experimenting with drugs (weed) with their friends. As the two became seasoned users, drugs became a means of bonding with friends, and also a facilitator to social interactions when they were crowd-shy – a “social lubricant” to use Bentley’s phrase, a confidence booster, as Dr Momodu describes it – a type of use that indicates social anxiety.

“Smoking a spliff with friends and listening to music and then eating a pizza afterwards is just really nice, music sounds better and food tastes better. Giving people hugs or dancing with the person you fancy or laying down on a comfy couch with sweatpants on whilst under the influence of MDMA is literally fucking amazing, it’s called ecstasy for a reason. Tripping balls off acid and seeing the carpet literally breathe like it’s a living being is mind-boggling, I mean, who wouldn’t wanna see that?”

Attributing 20% of the push to try drugs to peer pressure, Bendrixz tells me that the memories he’s able to build with his friends while high is one of the components that makes substance use so enjoyable for him, that and “what it unlocks in my mind that I cannot access when I’m sober,” a feeling which Bentley describes as “heightening or changing my perspective on how I experience the world, but also how I think and feel about certain things.” Where Bentley (Bendrixz too) uses drugs to “open up new avenues of thought that you normally wouldn’t be able to access or not access as quickly,” myself and Rookie were more interested in the mind-altering power of substances to lift us out of our mundane, lonely, depressing every day into euphoric bliss. Though you know drugs won’t make you good, they will definitely make you feel good – both physically and mentally, as Bentley points out – and to those going through a rough time, this is the draw.

“It’s called ecstasy for a reason”

In comparing the realities of Rookie and myself to Bentley and Bendrixz, companionship in drug use appears to be an important component in maintaining control and sanity. The one bad trip Bentley points to was when he was hiding a major life event from his friends: “I was in a bad place at the time because I was in the process of dropping out of uni and I hadn’t told anyone, not even my friends, I had so much work to do that I just hadn’t done so I probably shouldn’t have been taking strong psychedelics at the time.” I reached my rock bottom after spending two days in bed with no social contact, not even on my phone. Rookie started his dalliance with drugs on his own and ended it in September 2019 after a trip to the hospital and a tearful phone call from his loving mother.

“Drugs have the potential to be dangerous and life-threatening,” Bentley reminds me, but in a country that criminalises drug use and places such an intolerant stigma on addiction, it is near impossible to forget. Nigerian law includes the National Drug Law Enforcement Agency Act, which is self-described as “[a]n Act to establish the National Drug Law Enforcement Agency to enforce laws against the cultivation, processing, sale, trafficking and use of hard drugs and to empower the Agency to investigate persons suspected to have dealings in drugs and other related matters.” Whilst the Act remains ambiguous as to what extent drug use is a criminal offence, the stigma Nigeria places on addiction is glaring and dangerously unproductive.

Considered to be within a person’s control, as opposed to looking at drug abuse as an illness, Nigerian society often attributes addiction to negative spirituality, practising victim-blaming when addressing substance dependency. Sure, in music and youth culture we have the likes of Naira Marley bragging about the quality of his MD on “Opotoyi” or DJ Enimoney coming up with his friends on “Diet”; Even as far back as the 1970s, Fela Kuti was championing and channelling the power of the ganja. But with all these more realistic representations of how drugs exist in our society, which are often falsely accused of glamorising drug use (the truth is, these are just stories about real life), Nigeria reveals her position when songs like Olamide’s “Science Student” are banned by the NBC, or pop stars snidely remark on publicly broadcasted interviews that cocaine addiction is exclusively for the rich.

Both trivialising and demonising mental health issues and their correlation with drug use, through common insults such as “you’re obviously on drugs,” or common sentiments suggesting young people that (ab)use drugs are misguided antisocials, Nigeria has a very poor, and actually harmful attitude towards substances, one which Dr Momodu believes needs urgent reframing. She recommends we look at substance use and abuse through the disease model, understanding that whilst some people can safely consume drugs, others might be susceptible to more problematic substance use. Looking at it through this lens gives further evidence as to why Dr Momodu would encourage everyone to simply stay away from drugs. If you’re going to ignore doctor’s orders, however, (so like all of us) Bentley advises that you do your research extensively, and make sure you buy from a dealer you trust well.

“I think you need to know exactly what it is you’re putting into your body, you need to know the direct effects and possible side effects and see if you’re gonna like them/can handle it. With a drug like ecstasy that causes you to potentially overshare, you might not feel comfortable with that. Or how you might think the visuals on acid might be cool but time dilation (time slows down significantly on acid) might be scary to you. I feel you need to know both the good and bad side effects of drugs before ingesting them so you can make an informed decision before taking them.”

Bendrixz’s advice also doesn’t discourage people from taking drugs, but similarly suggest ways one can mitigate against bad experiences. He says, “Bad experiences? I mean, everyone has one, with everything they do, be it drugs or alcohol. It doesn’t mean you stop. If anything, you learn what got you so fucked up, and learn so that it never happens again.”

Noting that Rookie, who did research and did trust his dealer and did learn from his past experiences, still needed to go cold turkey, one can see the varying approaches, outlooks and responses to drug use and drug dependency even within the community of people who use drugs. I cannot conclude that drugs are exclusively bad, and everyone should either stop or stay away, because the likes of Bentley and Bendrixz enjoy them rather healthily; and frankly that advice is idealistic, everyone will do as they wish to do. However, we cannot ignore the psychologically detrimental effects of drug use, where these potentially harmful substances become coping mechanisms and a way to avoid practical and professional help in dealing with one’s mind, which, in some instances, is even triggered by drug use in the first place.

“I had to relearn how to tap into certain emotions and feels manually.”

When you turn to a fat glass of wine after a stressful day, light up a J before settling into a good meal, pop some molly to invigorate the night, or get on a tab so you can record more creatively, drugs are helping to bypass the problem you’re facing – be it a compulsive disorder, an eating disorder, social anxiety, self-esteem issues, or even something as simple as boredom – as opposed to overcoming these issues. These are innocent, normalised acts, but signs nonetheless that self-care and potential intervention is needed, because the problems still exist, whether you’re high and numb to it, and especially when you’re sober and immersed in it. Rookie’s anecdote about his struggle to make music post-sobriety is a good example of the temporary solution drugs put on our psychological trials. He says,

“My creativity suffered for a while and more specifically my self-esteem. I had attributed most of my creativity and finesse to these substances, so when I got sober it was hard adjusting and even comparing stuff I had made when I was high, there a was a clear difference in quality but eventually, I noticed the drugs only helped relax and reduce my anxiety so it was easier to focus and tap into certain emotions. I was making music way before drugs, so I had to relearn how to tap into certain emotions and feels manually.”

This past year has been incredibly dark, troubling and difficult. With everyone going through everything at the same time, looking for help can seem ridiculous, and distractions the more appealing choice. But drowning yourself in a drink, or work or anything that you use to escape might feel good, or at the very least numb (which is world’s more appealing than what right now has to offer), but it won’t help anybody be good. I asked, for myself and those like me, and all those reading this piece too, ‘how do you maintain mental wellness now?’ Rookie answered, “I try to mediate daily and do the most mundane shit I can think of like take walks or ride a bike. Also, I have a support system so if I’m feeling troubled or down, I reach out and it really helps me get through it.”

It might be “mundane” and boring and a look like trial, but there are always means to properly get through to the light. And if that feels impossible, if it feels lonely, if substances feel like the only way to cope with the darkness, there are also people whose literal job it is (so don’t feel guilty or burdensome) to help you into the light, so tap in and let’s conquer the fight.


Here are some resources for you and your loved ones. Life is full of peaks and troughs, so remember, it will always get better.

Help:

NATIVE: A list of helpful tips and resources for those struggling with their mental wellbeing

Dr Momodu at the Lagos Island General Hospital

Tranquil & Quest: A mental health with both in- and out-patient facilities and therapies specially tailored to drug (ab)use.

Rehab HC: An online helpline that will help you find the best drug rehabilitation facilities for you in Nigeria

National Alliance on Mental Illness: This page gives a breakdown of the symptoms and helpful treatments for people suffering from drug addiction

National Institute on Drug Abuse For Teens: Gives useful information on drugs and its health effects on mind and body

Mind: A list of resources and helplines available in the UK, but also online, including resources for families of users.

Psychiatric Times: Extensive resources about mental health, including a podcast series, Pyschpearl Podcast 


ICYMI: Suicide Prevention: Our Collective Responsibility

Helpful resources for #MentalHealthAwareness

For many people all over the world, the past year has been extremely difficult. All around us, as the world shut down due to the effect of the COVID-19 pandemic, social media showed us in real-time the frailty of life in different communities across the world, to the point it seemed that we were constantly in mourning. For anyone, this was incredibly difficult, let alone for those who already struggle with managing their mental health and wellbeing.

According to WHO, one in four Nigerians struggles with mental illness, and only 10% of these people have access to the care they need to manage their mental health. When you consider the country’s population of nearly 150 million people, these numbers are alarming. Living in a megacity such as Lagos, where the hustle and bustle never stops, there’s rarely ever any time to pause and reflect. Given this, it’s easy for things to pile up and then get ugly, leading to one’s mental health deteriorating at a rapid rate. As a society, we are generally more conscious of physical wellbeing, and take immediate action to get to the bottom of physical illness, when it’s just as important to be as conscious of your mental health.

Paying attention to one’s mental health is crucial to living a balanced life, as it impacts our ability to carry out even the simplest everyday tasks, and can cause us to function poorly in work, education and socially. At worst, ailing mentally can lead to suicide, which is now the second leading cause of death among 15-29-year olds all over the world. As such, it’s important to raise as much awareness about the reality, as everybody in the world has to manage their mental health and wellbeing. This is why having open conversations about the way we treat this as a society and interrogate the unhelpful codes that have developed a stigma in the way one’s mental health is treated.

To this end, this week for Mental Health Awareness Week, we at the NATIVE are working to keep members of our community informed about any mental health resources and information one needs whether you’re struggling, or just fine. For the rest of the week, we’ll be stirring up the different conversations surrounding mental health, from exploring the therapeutic benefits of music to engaging in detailed conversations with Africans who live with different mental disorders and digging deep into the connections between one’s mental health and substance use.

Whether you’re neurodivergent and already undergoing treatment, or you noticing patterns in your behaviour that are worrisome or even if you just want to learn more about how to show up for the people around you who struggle with their mental health, we’ve put together a few resources which might come in handy.

Therapy in Nigeria

Making the decision to begin therapy is never an easy one. However, once the decision is made to begin therapy, it is a beneficial experience that helps and enriches the lives of both you and those around you. The first step is to reframe what therapy means to you and leave the stigma attached talking about your problems behind. A therapist is there to guide you to healthily combing through your trauma and discovering patterns and the sources of scars that need to be addressed. To get you started, we found a thread highlight the few therapists available in Nigeria and their price ranges.

Mental wellness pages

While not all of us may need therapy, it’s still important to stay in tune with one’s mental and psychological well-being. Health and wellness pages are a quick way of staying afloat with important information for navigation anxiety, panic attacks, living with a loved one dealing with mental disabilities, and even breathing exercises for refreshing one’s mind. There are many of these pages across social media but we particularly recommend Eudaimonia Wellness, Mind County, The Depression Chronicles,

 

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Foster community and connection

It’s easy to believe that you’re alone when you’re struggling, but that couldn’t be farther from the truth. Thankfully, the Internnet has made it such that space and time are not barriers for communication anymore, and your tribe is always somewhere online. If you struggle to open up to the people around you, it might be helpful to find a community who you know understands what you’re going through. There are innumerable ways that being helped and looked after, can help.

State-funded resources

There’s no denying that Nigerian society hasn’t been the most empathetic and caring when dealing with people with mental health disabilities. In fact, there is a dearth of state-funded resources for people living with disabilities because these conditions are barely even recognised or taken seriously. However, it seems like things are improving in this area. Recently, the Lagos State government announced the new mental health helpline called ‘The Lagos Lifeline’. The platform will be available for residents of the city to gain quick access to psychosocial support, counselling, and psychotherapy services. The services will be free of charge through a dedicated line – 0909000MIND or 0909000646. While this is a step in the right direction, it is left to be seen how other states in the country will adopt similar practices for their residents.

Mental health websites

To adequately equip you with the tools to healthily address your triggers and anxieties, there are a number of mental health resources online which can adequately inform you about the different mental illnesses there are and how to seek out treatment for each of them. Most of these websites are not tailored specifically to Nigeria but they are full of useful information that might help you or someone close to you during difficult times.

NHS

Healthline

SELF

Psychology Today

Psych Central

Featured image credits/VeryWellMind


ICYMI: Suicide prevention: our collective responsibility

Songs Of The Day: New music from Ladipoe, Juls, Tay Iwar and 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 is 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. 

In line with our goal of curating content for our community, we select some of the most essential daily releases for your reading and listening pleasure; our last Songs of the day column featured drops from polymath Tekno, Ghanaian youngster Yaw Tog, and indie artist Dwin, The Stoic. Today’s column highlights songs from Ladipoe, DJ Spinall, Myles, D Truce, Midas The Jagaban, and Seyi Shay. 

LADIPOE – “FEELING” (FT. BUJU)

Last year saw a definitive turn in the career of Ladipoe as his Simi-assisted “Know You” encapsulated the lonesome energy of Nigeria’s COVID-19 lockdown. He followed the success of “Know You” with breezy flows on “Yoruba Samurai,” closing out the year with a series of features that put him on a pedestal going into 2021. Featuring BUJU on “Feeling,” his first single of the year, Ladipoe works around the singer’s dulcet vocals for another classic rap-sung collaboration that has the right mix of swag and tight lyricism. Atop Andre Vibez’s beat, Ladipoe encapsulated the peppy lifestyle that the song is all about. 

SEYI SHAY – “PEMPE” (FT. YEMI ALADE)

There has historically always been a dearth of pop collaborations between pop leviathans in Nigeria, and for much of the 2010s, Seyi Shay and Yemi Alade were totemic presences in the music industry that strove in different directions. “Pempe,” a belated collaboration between the duo sees them lean into the characteristics that powered their rise. Seyi Shay calmly sashays around the drowning percussion of Kel P’s instrumentals, delivering a gem of a hook before Yemi Alade further spices things up with her pleasant verse. 

JULS – “CHANCE” (FT. TAY IWAR & PROJEXX)

British-Ghanaian DJ and artist, Juls is preparing for the release of his forthcoming album set to drop this summer. Ahead of this, he’s now shared the project’s lead single, a groovy anthem single titled “Chance” featuring Projexx and Tay Iwar. Over slinky keys, percussive patterns and groovy Afropop drums, both artists sing smoothly about being given another chance by a romantic interest. “I need your love, shaped in a glass of rum/Maybe it’s the way you move on the dance floor, got my mind fucked up” sings Tay Iwar as he teases and urges a lover to entangle with him. The song’s propulsive rhythm will surely have you on your feet and whining along to it.

D-TRUCE – “RUN THE CHEQUE”

2019’s ‘2 Birds, 1 Stone’ featured canvas-style music from D-Truce, the rapper fleshed out his contradictions, bothers, and celebrations over mid-tempo beats that bolstered the conceptual feel of the project as a snapshot of his life in motion. Bar a few features here and there, he has not really dropped a lot of music. His latest song, “Run The Cheque” is a thematic divergence from ‘2 Birds, 1 Stone.’  On the song, he is more or less concerned about staying paid up, but his flow on the song is almost sneering, hinting at more life reflections to be dissected on his forthcoming project, ‘Smoke Break.’

THA BOY MYLES – “BOP LOVE”

When Tha Boy Myles dropped “Boma” in December 2020, all the signs of his natural aptitude were on display as he mixed vibrant storytelling with an almost nonchalant delivery that his featherlight voice buffered. His debut project, ‘Mylestone’, a six-song EP released today, features more of the high-quality writing and melodious crooning that makes him a star-in-the-waiting. “Bop Love,” a low-flickering R&B-tinged number is Myles at his most assured, seeing him move between grandiose promises and playful flirting with the ease of a veteran. 

MIDAS THE JAGABAN – “CLOUD 9”

London-based Midas the Jagaban draws influence from the work of celebrated Nigerian masked singer, Lagbaja, in more ways than one. Sonically, she intersperses her music with tidbits from the social activist’s back catalogue while rooting her work in the mind frame of the Gen Z generation. The video of her single, “Cloud 9,” pulls her artistry in different places with an incandescent affair that pays homage to the misunderstanding of comic anti-hero, Joker. Directed by Nathan James Tettey, the video gives its due to all the places, people, and characters that have shaped Midas without being messy. 

DJ SPINALL – “SERE REMIX” (FT. FIREBOY DML AND 6LACK)

As a standalone, “Sere” was an absolute summer smash, a throwback to all the ubiquitous bops that made Summer the time for the shedding of clothes and downing copious amounts of cocktails. Updated with a tweeny verse from 6lack, the remix of “Sere” gets a Western sheen without losing any of the unrestrained joy that Fireboy DML’s vocals gave to the original. 

Featured image credits/Instagram

A 1-Listen Review of Shekhinah’s sophomore LP ‘Trouble in Paradise’

Back in 2017, Pop/R&B vocalist, Shekhinah released her debut LP ‘Rose Gold’, a 12-track album that found the singer showcasing her effortlessly gorgeous voice and earmarked her as one of the leading lights of modern R&B on the continent. Since then, she’s put her home city, Durban, on the map while bagging awards for Album of the Year, Best Newcomer, and Best Female Artist at the South African Music Awards with an effortless candour.

For most of the past few years, the singer has been on the down-low. After taking a 4-year hiatus from releasing any solo music, last year she released the Bey-T assisted standout “Fixate”, a memorable number about love and commitment over delectable keys. Months later, she followed this up with the sweet-sounding single “Tides”, all released in anticipation of her sophomore LP ‘Trouble in Paradise’ which was initially slated for release at the end of last year.

Today, the SA singer’s long-anticipated album ‘Love in Paradise’ is finally here. Four years after her debut run, Shekhinah continues to show her silky timeless vocals which are meticulously paired with wistful, familiar soft-sounding production that will have you humming after just one listen. Speaking about the album, Shekhinah shares that “Every song was like therapy to me” and truly the music takes listeners on an experience, traversing different moods, emotions, and feelings. This is an artist who has fully stepped into her star power.

In the usual 1-listen review fashion, all reactions are in real-time while the music plays. No pauses, rewinds, fast-forwards or skips.

Tides

This is one of the album’s pre-released singles so I already know what to expect but it is a very potent introduction for a project titled ‘Trouble in Paradise’. She’s singing about wading in the dangerous tides of an uncertain relationship that’s got her drowning. Sounds a bit like me when I’m swearing off my latest beau of the week. Her vocals are absolutely insane and this R&B/Hip-Hop type beat is giving me life. Shekhinah is sorely underestimated, I need y’all to run her her flowers.

Not Safe (Intro)

Ah, the famous cassette tape opening. You just know this is about to be really good. I find it interesting that the intro comes right after the pre-released single. I wonder what the motivation behind that is. Glittering keys, a glassy guitar, and that signature sweet-sounding vocals, this is Shekhinah’s beat. I don’t want to love anyone the way Shekhinah loves her muse because her voice is heartbroken and tinged with regret.

Miserable

Only fair that this aptly titled single comes right after that intro. Very rhythmic bouncy introduction but the song itself is very mellow and introspective. If you’re nursing a broken heart, I would hit skip on this one. The lyrics are too poignant and relatable that it’s sure to bring up fraught memories of your own romantic shituations. Shekhinah be deep in her bag when it comes to these anti-love anthems. Queen of heartbreak.

Fixate ft. Bey-T

This is one of my favourite songs on the whole album. I’ve probably played it about a million times since it was released last year because it’s an insane record and it deserves all the love it’s getting. This is probably because my views of love are so skewed because why am I relating to every single lyric on this song? I particularly love that Fresh Meat alum Bey-T is on this number because it just makes it all the more special. I think we are all made for love and softness and this song exemplifies that.

Questions

“What happens if you drop my heart and we just can’t put it back?” This is the question that Shekhinah ponders on this warm, charming acoustic track as she tries to make sense of her feelings for a crush. The thought of opening up your heart to someone new is extremely daunting and it’s no wonder that there’s a whole number dedicated to asking the tough and necessary questions we have to ask in romantic situations.

Fall Apart ft. Luke Goliath

The answer to Shekhinah’s earlier questions about love are all answered on the next single “Fall Apart”. Here, she’s accepting that she’s come undone by this love and embracing all the complexities of this all-encompassing love and its ensuing heartbreak. This is a classic pop record and Shekhinah murders it so effortlessly. Who else can make heartbreak sound like a catchy track that makes you want to dance and do the electric slide? Shekhinah is your girl.

Pick Up ft. Una Rams

Okay, at this point I think the songs are getting a bit too predictable. Not that this isn’t a great song in its own right but at this point in the project, I already know she’s heartbroken and questioning everything around her. But did we need another number pining for an undeserving lover’s attention? Maybe it’s just me being over love and its unstable promises but, please girl, let’s have another “Fixate”-type number at this point. Killer vocals though.

Insecure

Any song called “Insecure” is going to dig deep into the frustrating parts of our psyches and provide introspective and pensive lyrics about this thing called life and Shekhinah’s iteration is no different in this regard. She admits that making money and becoming successful didn’t make her happy because she’s still craving all the things she wanted before the fame. Shekhinah really gets personal about the effects of being thrust into viral prominence when you’re still working on loving all parts of yourself.

Diamonds Do (Interlude)

At this point, Shekhinah is done with this undeserving lover. She’s back on her shit and telling them that she’s got better things to do than being hung up over this person. Right now, she’s demanding to be paid in diamonds and I just have to stan at this point. I mean if you can’t get love, you might as well be covered in VVS diamonds. Word to Madonna.

Wedding Song

I think I definitely preferred the first half of the album because it’s starting to drag on now, even though there aren’t that many songs on the project. How did we go from asking for diamonds to right back at square one with the pining? However, one thing’s clear and it’s that Shekinah’s propensity for love is overflowing. It’s clear that her Christian faith is the foundation of her love for others around her as she sees her love as possessing healing qualities. It’s hard not to believe that she’s got the magic touch with a voice this smooth sounding. Even I’m convinced that I want to be showered with her love. Yikes. I need some fresh air.

I Love It Here

It’s hard not to feel like Shekhinah is giving us snapshots into her private life with intimate numbers such as this one. She’s literally recounting an experience shared with a lover from childhood where they grew up in the same hometown or drinking their parent’s wine on vacation. I almost feel like I’m prying into her life. There’s something innocent about their love and it’s clear that she’s in too deep to find her way out now.

Beautiful

This is such a beautiful song to round up a nearly perfect compilation of songs. When she sings “I made peace with the way God made me”, you can clearly hear it in her voice that she’s done a lot of growth within the project’s 12 tracks finding solace in the fact that she’s divinely blessed. It’s easy to feel broken by romantic love and the prospect that you are less because someone chooses not to see your greatness but Shekhinah reminds listeners that they are all they truly need with God by their side and as she says “True love lives in you”.

Final thoughts.

Each word on ‘Trouble in Paradise’ carries with it an immense sense of emotional depth that can only be due to the growth that Shekhinah has gone through in the last four years since she released her debut LP ‘Rose Gold’. It’s this new sense of confidence in herself and her abilities that guides her for most of the project as she tracks loves ebbs and flows with razor-sharp precision.

It’s clear that her deep understanding of her own psyche results in music that’s equal parts fiery and equal parts reflective so that listeners are able to visit ‘Trouble in Paradise’ for a good time but also for some much-needed reflection on their past romantic trysts. Shekhinah sounds like a trusted friend, someone who’s played the game so you don’t have to get your hands dirty but rather than be resigned by what’s she had to face, she offers counsel and solace for anyone willing to listen to her voice. At the end of the project, there’s some form of catharsis. She’s realised the power that she possesses and turns inwards to find ways to navigate life, all while imploring listeners to do the same. ‘Trouble in Paradise’ is beautiful, emotionally layered and a welcome return for one of South Africa’s most formidable vocalists.

Hit play on ‘Trouble in Paradise’ below.

Featured image credits/Shekhinah


ICYMI: A 1-Listen Review of Blaqbonez’ ‘Sex . Love’

In anticipation of the return of live music

Pandemonium is the appropriate word to describe Naira Marley’s cameo at Wizkid’s 2019 Starboy Fest in London’s O2 Arena. In the midst of a phenomenal run of hits, one of the greatest runs in contemporary Afropop, Naira ran unto the hoisted platform with the unbound energy of a bull who had just seen red, pulling off improvised variations of the Zanku with the erratic energy of a toddler hooked on way too much sugar. It was a chaotic sight to behold, a live representation of what Terry G really meant when he sang “Free Madness” all those years ago.

You didn’t have to be in the O2 Arena that night to witness and properly comprehend the wildness of the “Soapy” rapper’s frenzied set. In a world with cameras readily attached to our hands, outtakes from those performances flooded social media timelines within hours, offering several different glimpses of the experience. After a night which featured dozens of artists on stage, many of them being top tier Nigerian pop acts, it was Naira who dominated pop culture discussion in the coming days for this showcase and the palpable riotous reaction it generated from concertgoers.

The truth is, Naira’s unforgettable cameo definitely needed the reciprocal madness and upward screams from the fans beneath him. There’s no efficacy in his dancing if he doesn’t get on stage to fans yelling at his initial presence, shouting his lyrics back at him, and raging all through —(re)watch any of those videos and tell me I’m lying. It exemplifies the visceral essence of super-sized live shows, the push and pull between performer and audience, where energies are exchanged in favour of a memorable moment that can echo beyond those present on those grounds.

In the last year, the world has been largely robbed of these special live moments where music inspires those spontaneous, raucous reactions. During that time, artists have graced stages to perform their songs but the instances involving pandemonium have been somewhere between non-existent and extremely rare. (In fact, pandemonium has mainly been used as one of the sarcastic colloquial substitutes used in referring to the deadly Coronavirus pandemic.) Much like every other facet of life, Covid-19 greatly devastated live shows as the virus became a rapid worldwide concern, significantly altering the established format that included physical crowds.

Artists were—and still are to some extent—limited to virtual live performances, and while they have definitely been enjoyable, there’s no adequate alternative to having that physical presence and energy exchange. Before the pandemic, digital live performance platforms existed as avenues for artists to entertain audiences and prospective fans. In the context of an open world, live sets made for virtual viewership were supplementary showcases with mainly promotional purposes. As the pandemic set in, virtual shows became a viable, but ultimately inadequate, a placeholder for physical experiences, which we should have seen coming.

In 2019, during the ‘African Giant’ arc of his ongoing otherworldly run, Burna Boy made his much anticipated appearance on Tiny Desk, NPR’s popular, intimate live performance web series. Performing a medley of songs from his fourth studio album, the singer cut a sombre gait and was significantly less energetic than he’s proven to be on stage. Technically, Burna and his band hit the expected notes, his singing was clear and generally remarkable, their playing was tight and appropriately funky; they were in-sync and professional…maybe a little too professional because the set, even though enjoyable, wasn’t nearly as exciting as what a live Burna set is like.

If you’ve seen Burna live and direct, there’s a high chance are you’ve been awestruck by his towering presence and animated verve. He sings, raps, dances, hops, and pulls off everything in between to ensure he’s in command of the stage. With that in mind, he’s still essentially a showman who feeds off his audience’s reaction. In early 2020, Burna came under deserved criticism for singling out a fan during one of his live shows, ejecting him out of the venue and refunding his ticket money for seemingly not having a good time at the show. While some see it as an unnecessarily harsh gesture from Burna, it also symbolises how important that trade in trust between the artist on stage and the concertgoer, where the latter seeks to be wholly entertained and the former wants to feel the gratification of meeting that demand.

Without that real-time tension and interaction between both parties, live performances in the past year took on a slight but significant meaning. Perhaps, what makes the difference sting more, like many other “normal” things that were taken away because of the pandemic, is the casually violent removal of the audience from these physical spaces, with respect to the way many of us treated these concerts as quotidian occurrences rather than special avenues to commune with friends and strangers in service of the music we love. Virtual live shows became the new normal during the pandemic, but there’s a world of a difference between screaming back lyrics in an audience under the night sky and peering at your favourite artist from a screen.

As artists and the music industry began settling into the temporary normal, virtual live shows tried to get more inventive. Travis Scott famously hosted a spectacular live event on the gaming platform Fortnite, Burna Boy performed at a show that allowed viewers watch in virtual reality mode, and Wizkid’s first post-Made in Lagos concert was made momentous by an intimate preamble offering a glimpse into his daily life. These examples pushed the boundaries of the norms with virtual performances, giving digital attendees an experience they can hold on to, as opposed to the straightforward stage exhibition.

“That Wizkid live show will stay with me forever,” Oyinlolu, a self-confessed impulse concertgoer, tells me in a conversation about virtual live performances. “People would obviously have tuned in because it’s Wiz, but seeing him in his element before, during and shortly after he hit the stage made it feel special. That’s why the entire timeline was dedicated to the show that night.” While Wizkid was on stage exuding the magnetic charisma that makes him a beloved and hugely popular superstar, most of us were gabbing in awe of the man, emblematic of the ephemeral but powerful community live performances should ideally engender. The common belief is that live shows present an avenue to engaging with the music on a rawer level, but it takes special methods for it to feel fulfilling under the restrictive measures of a viral pandemic.

One of my fondest concert memories happened at the 2019 Palmwine Festival, the annual concert headlined by Nigerian Rap duo Show Dem Camp. Sometime that night, NATIVE Trybe alum, MOJO joined Prettyboy D-O on stage for their collaborative hit song “Chop Life Crew”. I was at a vendor’s stand with a friend at the time the performance started, however, I found myself close to the stage a few moments later, yelling the song’s infectious hook in the faces of a few strangers who were yelling back at me in similar ecstasy. Palmwine Fest didn’t return the next December, and even if it did, I can’t imagine having that sort of carefree moment because I’d be a little too busy trying to guard my life.

In comparison to other types of public, camaraderie-based gatherings—birthdays, weddings, club outings etc.—live shows haven’t fully resumed, but they’re happening to varying degrees in Nigeria and across the continent. At almost every turn, though, there’s a visible consequence of what it means to host and/or perform at a concert with physical attendees under the dark cloud of Covid-19. Last year, Nigerian singers Tems and Omah Lay were arrested in Uganda for gracing a two-day festival that featured dozens of artists. Their remands in jail and subsequent arraignment in court was seemingly spurred by political and xenophobic reasons, which were scarcely veiled under the guise of breaking health and safety measures.

Last December, Ghanaian Rap phenomenon Sarkodie hosted the latest edition of his annual Rapperholic concert, and it pulled in a massive turn out in spite of the pandemic. Watching footage of the concert, however, showed that it was a little statelier than it should’ve been for a Rap concert. For a bill that featured rappers performing up-tempo Trap bangers and raucous Drill slappers, the crowd’s reaction was far from rowdy, especially in the front row with V.I.P tables occupied by concertgoers who had nose masks on their faces or affixed to their chins.

In the coming months, live shows are bound to make a full return to their usual format. Effective Covid-19 vaccines are all the rage the moment, and even with a shortage in the amount of doses required to fully immunise African countries, outside is primed to open up fully and so is the frequency of live shows of varying crowd sizes. As exciting as that potential development seems, it begs the question of how audiences will react when they’re able to convene in large numbers in front of their favourite artists. “I’ll probably cry when I get to finally see Nasty C live again,” Lerato, a 24-year old Durban, South Africa resident tells me via text. “I saw him during his last tour, but I just really want to see him perform slaps off that new album and pay attention to him at every second.”

I, too, would love to see Nasty C again. In 2017, he made a cameo at Davido’s headlining concert at Lagos’ Eko Hotels, and for the most part of his set I was texting and doing other stuff on my phone. This was pre-Strings & Blings, the sophomore album that made me (and many other non-South Africans) really lock in and pay rapt attention to the then-budding superstar. From the little I saw that night, and footage of him on stage, Nasty C is the real-life representation of the energizer bunny when he’s performing with a crowd in front of him, a far cry from the composed performer he’s presented himself as during Late Night TV appearances and virtual showcases in the last few months. Seeing the rapper again, at a new height of fame no less, would provide a redemptive avenue to fully embrace the experience of seeing him on stage.

Over the last year, I’ve seen tweets from people promising to maximise the first live concerts they’ll be attending, a sign that many are heavily anticipating the opportunity to scream, dance, rage, and more at post-Covid shows. Even artists are looking forward to performing away from the guiding frame of restrictive measures. It’s an anticipation that might spell a positive uptick in concert culture around these parts, which might mean shows don’t start extremely later than they’re billed, artists don’t threaten the members of audience, and concertgoers live in the moment rather than hold their phones up the entire time.

A few weeks ago, I stumbled into a seemingly impromptu street rap battle in my Lagos neighbourhood, with two rappers trading bars while veins popped out of their necks as they strained their vocal cord to ensure their jabs landed better than the other. In the crowd of about 70 to 100 people that had gathered, I only saw one person with a camera phone out, the rest of us were riveted to the raps as they unfolded, yelling sounds of (dis)approval at each furious or tame lyrical jab. In that moment, I realised how much I’d missed witnessing live music events in the company of an enthusiastic audience, and I’m assuming it was the same for many of these people.

As I walked home, Naira Marley’s O2 Arena cameo popped into my head. I wasn’t there, what I’d witnessed wasn’t anywhere near the magnitude of that frenzied set, but it highlighted to me the memorable thrill of making yourself available to relish the pandemonium, whether big or small, induced by a live event. These new memories will be made right in front our eyes in the near future, we just need to be present because it’s been way too long since many of us truly engaged with music beyond digital channels. It’s about time to go outside and experience the music.


@dennisadepeter is a staff writer at the NATIVE.


ICYMI: THE SIGNIFICANCE OF WIZKID BEING MADE IN LAGOS

How afropop has influenced pop culture language

While making one of his exuberant home videos that make a fleeting presence on the Internet via Instagram stories in December 2020, Davido seems angry. Staring into the camera, the singer is shouting a word over and over. “Tule! Tule jare!” No one watching is quite sure what is happening in real-time, but very soon the singer breaks into a full-throated laugh and it is clear that he’s just having some fun with his audience. Less than an hour later, the video had gone viral on Twitter, and a few hours later, Davido announced a challenge to reward the best rendition of “Tule by any Internet denizen, giving birth to a new slang in Afropop’s rapidly-expanding canon.

As tempting as it is to question the etymology of Tule, there’s no questioning the slang’s reach and efficacy. In fact, this has always been the case with afropop slangs. From Wizkid’s “Wad Up” to Davido’s “E Choke”, the history of popular Nigerian music is very much a panoramic examination of the wonders of language; how slangs pass diverse cultural pipelines, receiving slight tweaks along the way until they become an unavoidable part of the cultural language and become markers of our specific moments in history. 

From Mad Melon owning the Danfo Drivers tag – a slang used to refer to drivers of Lagos’ instantly recognisable yellow and black buses – to Zule Zoo using “kerewa” to disguise the sexual suggestiveness of their smash hit of the same name, and DaGrin subverting the intended meaning of kondo on his song of the same name, Afropop has had a unique relationship with slangs as living archives of our lived experiences, and a provider of terms to viscerally convey previously unexpressed thoughts and ideas in resonant monosyllabic or disyllabic capsules. 

Most of the rise of afropop to global popularity has been explained through its iconic drums and searing rhythmicity that has won it a ton of fans across the world, however, as with most works of art, it’s the culture that provides a wider narrative for what the music sounds like and morphs into. While music is largely cathartic, it’s also a scene-setting, engendering cultural mood board into the popular zeitgeist. On “No Shaking”, off his sophomore album, Grass To Grace, 2Baba weaved a narrative of self-dependency and relentlessness into the four-minute anthem and made the slang, Nothing Dey Happen”, a thing. Eedris Abdulkareem’s iconic “Mr. Lecturer” also turned the word into an axiom for sexual harassment in Nigeria’s higher institutions.

As the years have passed, the thematic underpinning of these slangs has undergone marked changes from the core socio-economic charges of the early 2000s to mirror the pomp and Instagrammable hedonism of the 2010s, and Afropop has played a role in heralding these changes. While in the 00s, D’Banj’s “Koko” got spawned into various variations of itself, finding a way into the telecommunication, food, and lifestyle industries, it was the arrival of Wizkid and his intuitive ability to conjure hit singles and inspire cultural frenzy that set the ball rolling. “Pakurumo”, one of Wizkid’s earliest singles, was a marker of his potentiality for transcending music-making to impact the body of popular language as the term, Pakurumo, took on a bigger urgency in the day-to-day lives of people across the federation and beyond. 

The 2010s largely gave way to buzzing slangs – preferably with buzzing dance styles – as a form of cultural apotheosis, and nobody quite owned the intersection of popular slangs and pop music like Olamide. Upon leaving the ID Cabasa-led Coded Tunes, the Bariga native’s first album was titled Yahoo Boy  No Laptop (YBNL), a clever play on the fraud allegations that dogged him, and one that attained mass appeal and critical attention. At that time, Olamide began to piece together the beginning of the insane run that made him one of the 2010’s most defining Afropop acts, and throughout the decade, Olamide coloured his often-visceral hooks and bars with inventive slangs and colloquialisms that would have an outsized effect on the culture and language (Sneh, Duro Soke, and Shakiti Bobo). 

The evolving success of Nigerian music and its decamping to areas of relative wealth juxtaposed with the rise of indigenous rhymers like DaGrin, Reminisce, and Olamide as the 2010s thrummed on, which set the pace for a fresh glut of slangs to rise from the places that birthed these artistes. As the epicenter of popular music converged on the island and other tangential locations, it necessitated the existence of an other to accommodate the dreams and aspirations of musicians from other locations in the city, birthing the ‘streets’ terminology that is now one of Afropop’s most enduring totems. With time, the music coming out from that part of town, chronicling the weird, oft-fatalistic realities of young people, took new meaning and sprouted newer cant like the previously derisory “local rapper” quip that was reclaimed powerfully on Reminisce’s “Local Rapper”.

Phyno, a guest on that song, benefitted from the micro-triggers of the streets’ influence, dropping his classic single, “Alobam”, to widespread positive reception; as a mark of how successful “Alobam” became, it became a slang to express affection among loved ones. Just a year after “Alobam,” a song by Festac rapper, YCee, took the word Jagaban into the pop argot, transforming it from its previously political connotation to have mainstream meaning as any person of influence.

A series of middling slangs made 2018 one of Afropop’s more interesting years: Wizkid’s “everything stew”, a holdover from the “Fever” video promo was trifling if not unremarkable, while Duncan Mighty’s comeback link-up with Davido and Peruzzi resulted in the entrenchment of “aza” as a substitute for bank account details. By the late 2010s, music from the streets of Lagos had permeated almost every part of popular Nigerian culture and the Shaku Shaku, a novel mutation of streets music built around the guttural arrangement of Gqom, South Africa’s traditional electronic dance subgenre, was crafting a path to the mainstream. Songs like DJ Sidez’s “Oshozondi”, Mr. Real’s “Legbegbe”, and Idowest’s “Shepeteri” introduced the Nigerian public to their bombastic music as well as the sprightly slangs that made their songs addictive. Oshozondi/Saint Sami Ganja was envisioned to mean a life of the party who spent heavily and Shepeteri referred to the ghetto culture that inspired their music. Another slang, “Ji Masun”, popularized by Idowest became the spur-of-the-moment for much of 2018. 

In the last quarter of 2018, a young rapper named Zlatan took to shouting the ad-lib “Gbe body e” over zesty beats that marked the birth of his signature zanku music, often interchanging it with “Gbe soul e” for maximal effect. Much like Ji Masun, Gbe body e was an invocation to work hard and not give up, and paired with the Zanku culture and Zlatan’s work ethic the ad-libs became slangs that became an inescapable presence after an electrifying showing on Burna Boy’s “Killin Dem”. Zlatan’s success and his dalliance with Naira Marley set off one of the most inspired years in Afropop history, with Marley going on to release a canon of singles that elevated him to stardom despite spending considerable time incarcerated. His collaboration with Young Jonn, “Mafo”, a defiant pop anthem became another successful drop turning the single’s title into an exhortation and ubiquitous slang.

Through this all, the next frontier of Afropop slang is being decided by the up-and-coming generation of street popstars. Taking inspiration from street pop’s ever-changing pulse and Marley’s Opor, MohBad and Rexxie came up with the minimalist hit, KPK, an abbreviation of “Ko Po Ke”, a Yoruba phrase expressing delight at bountifulness. Straddling the intersection of mainstream music and street sensibilities, Mayorkun has established himself as a veritable slang machine, birthing the crisp but pure “of Lagos” tag and following it up with “this bread no be Agege”.

As Nigerian pop’s greatest synthesiser, Davido has demonstrated a knack for taking parts of the culture and reconfiguring them in new and exciting ways that increase reach. After a video of the “Jowo” singer working in the studio with Bad Boy Timz captioned “Hit Choke” went viral in January, the latest viral slang, “E Choke”, started to gain momentum, leading to its present position in pop vocabulary. With Nigerian music ascending to global fame, the results of our slangs are more decidedly global as the video of Drake admirably trying to say “e choke” when he linked with Davido in March proved. 

For the conceivable future, slangs will be a fixture of our music because the heterogeneity of Nigeria does not make it feasible that we have a central language. What that means is that, through the creolization of our languages into a hybrid communication system, we will find ways to convey our most urgent desires and feelings in wide-ranging slangs that the Internet will help proliferate. And because the work of pop music often comes down to reflecting the times it exists in, musicians will seek out the words that move the masses or attempt to come up with the words that will define our daily lives.


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


ICYMI: THE BIGGEST AFROPOP TRENDS COME FROM THE STREETS, BUT WHO PROFITS?

Best new music: Sarz & Lojay fuse Afropop and R&B for deceptively addictive “Tonongo”

A little over two years ago, a trove of mood-shifting electro-tinged instrumentals appeared on streaming apps credited to Sarz. Within the expanse of the suitably-named ‘Sarz Is Not Your Mate’, the producer sauntered between the cheery carefreeness of “Good Morning Riddim” and the whizzing hums of “Celetronic Riddim”, displaying the knack for crafting euphonious sounds and sense of pacing that made him perhaps the most important Nigerian producer of the 2010s. With the barest minimum vocals, the beat merchant made a body of work that could soundtrack – and ease – the endemic traffic congestions that crowd out the roads of Lagos, day on day, while the inviting pulse of “Legwork Riddim” tapped into the dominant trend ruling the 2019 zeitgeist. At the end of that year, he followed up with ‘I Love Girls With Trobul’, a joint project with WurlD that paired the electro thrumming of ‘SINYM’ with WurlD’s poignant lyricism. 

In the two years since then, Sarz has taken a backseat from music drops to focus on tweaking his formula to reflect the ever-expanding multiplicity of sonics in the ecosystem. On “Tonongo”, a new collaboration between Sarz and newcomer Lojay, we are served notice of a new era in the producer’s career and a sign of a brewing partnership with another artist. While WurlD’s music reflected the American influence that shaped his art, Lojay’s voice reflects the Nigerian experience in immersive fashion with 2017’s ‘Midnight Vibes’ boasting jolting production and caulking writing on songs like “Atarodo” and “10k Splaw”.

Four years after, and collaborating with Sarz, the pace of Lojay’s music is less languorous and the sound is cleaner, the staggered flows on “Tonongo” are deceptively addictive, complementing Sarz’s pivot to an Afropop-soul fusion sound. Stretching out his vocals over a sensual instrumental, Lojay makes a lascivious tribute to a dancer that he’s not sure he likes or he’s just lusting after. His writing wonderfully swerves between the grungy staple of Afropop and a more ambitious style of rhyming that makes the gloomy, dark soundscape he was aiming at visible. One memorable line, “You win the ass cheek Ballon D’Or”, lands on the right side of the beat drop, providing an almost visceral imagery to his emotive chitter. 

One of Sarz’s greatest gift has always been his intuitive ability to match the sonic leanings of his creative partners and present their music in new and exciting ways; here, he strips the dour reverbs that have characterised some of Lojay’s recent works (“Ogogoro” and “Ariel”), allowing his music retain the anxiety of his messaging without distractions. The first single off a proposed joint project between the producer and artist, “Tonongo” represents a superb effort in imagining the turmoil and uncertainties of romance over forward thinking beats, as tension-soaked, angst-filled neo-soul music attempts to position itself at the center of Nigerian pop. It also teases the wonderful possibilities ahead of the duo’s joint EP, setting an enviable opening standard for the project’s eventual full release in coming weeks.

Listen to “Tonongo” here.


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


BEST NEW MUSIC: HEAR “SWEAT”, THE STEAMIEST AND MOST DEFINITIVE TRACK OFF SARZ AND WURLD’S ‘I LOVE GIRLS WITH TROBUL’

Songs of the Day: New Music from Tekno x Mafikizolo, Yaw Tog, Blxckie & more

After working tirelessly for the majority of the past quarter, crossing our T’s, dotting our I’s, and putting you unto some of the hottest new artists on the continent, our editorial team was left feeling burnt out and unable to deliver you, our ever-loyal community, the content that you signed up for these past few years. To that end, we took a much-needed editorial downtime to do some necessary housekeeping and realign ourselves with our mission of championing the sounds of tomorrow: today.

We know that it can be hard to keep up with all the new releases out there, even in a year when many of us had time to catch up with all the new music at our fingertips. So, in order to keep our content ever-changing and current, we’re rethinking the ways in which we put you onto new music; whether that’s via our radio show which premieres bi-weekly on No Signal or our regularly updated Apple Music and Spotify playlists or frequent round-ups like this one, we’re committed to keeping you on the pulse with the hottest sounds. Last weekend’s curation included new drops from Burna Boy, M.anifest, Ajebutter22, KDDO and Davido, Le Mav and Tay Iwar, and more. Today, we’re bringing you recent releases from Tekno, Yaw Tog, Blxckie, RnB Princess, and more. Dig in, enjoy and you’re welcome.

Tekno & Mafikizolo – “Enjoy (Remix)”

Late last year, Afropop superstar finally released his overdue debut album, ‘Old Romance’. The LP was preceded by its bubbly lead single, “Enjoy”, where the singer makes it clear that he’s only interested in living a pleasure-filled life over dance-ready neo-Highlife instrumentation. The singer has now shared the remix to the single, collaborating with iconic South African Pop duo Mafikizolo. The major part of Tekno’s catchy hook and the beat remains unchanged, with the only new additions being sung verses by the guests. “Enjoy (Remix)” also comes with a Clarence Peters-directed accompanying video, packed with bright colours and flamboyantly styled wears.

Yaw Tog – “Y33gye”

Nascent Ghanaian Drill superstar Yaw Tog released his debut EP, ‘TIME’, an exhilarating showcase of his abilities as a potential powerhouse. Following its blockbuster lead single, “Sore” featuring Stormzy and Kwesi Arthur, the teenage rap artist is continuing promotion efforts for the project with the release of a new video for the standout song, “Y33gye”, a bruising anthem touting his street cred. The video plays into the gritty aesthetic often employed in Kumerica music videos, showing Yaw Tog in the midst of his posse as they rap and singing with a delightfully menacing edge.

Kwaku DMC – “Most High”

Last month, Ghanaian rapper Kwaku DMC released his latest mixtape, ‘Road to Traphouse 3’, a reiteration of his hood rich lifestyle and street-bred ideals. Off the tape, he’s shared “Most High” as the new promotional single along with a new music video. Over a sombre Trap beat, he raps of his lavish ways and immortalises his fallen brothers from the past. The video takes a very DIY bent, as is typical of Kwaku, showing him rapping his set with a relaxed candour in the kitchen area of his house.

YoungstaCPT – “Kleurling”

YoungstaCPT’s debut album, ‘3T’, explored what it means to be deemed as coloured in South Africa, exploring the origins of that identity and taking unbridled pride in it despite past racist connotations. Over two years later, the Cape Town-based rapper is still garnering attention with a steady trickle of music video for select single, the latest being an accompanying set of visuals for standout song, “Kleurling”. Portraying the specifics of the song’s socially conscious incline, the video contains frames from the historic District Six museum, which contains artefacts and images pertaining to the Coloured experience. It also sees Youngsta rapping amidst people in two different hoods across Johannesburg and Cape Town, closing out with a montage of the variety of faces that make up these places.

Dwin, the Stoic – “Ifunayam”

As a solo artist and member of the alternative folk band Ignis Brothers, Dwin, the Stoic makes deeply affecting songs about the human experience. “Ifunayam”, his first single of the year and solo outing in a while, leans into the Nigerian singer’s increasing mastery of spinning emotionally stirring Folk ballads. Sung in the first-person perspective, and backed by a majestic combination of placid piano, gentle guitar plucks and sweeping strings, Dwin lays his cards down in front of a returning love interest, whose affection seemed to have wavered in the past and left him heartbroken. “There were nights when I thought the darkness would win/but you’ve come my way and I hope you stay”, he sings in the second verse, rejoicing at the return of his prodigal lover.

Eno Barony – “God is a Woman” (feat. Efya)

At the recent 3Music Awards, dedicated to celebrating creative achievements in Ghanaian music, Eno Barony picked up the award for Rapper of the Year, making her the first woman to win in that category. On the back of that significant win, she’s just shared the video for “God is a Woman”, the intro song on her latest album, ‘Ladies First’. On the song, she’s joined by singer Efya who sings the choral hook, as they declare women’s supreme worth and chuck the middle finger at those who would like to disagree. The music video employs religious symbolism and regal styling to get their point further across, as Eno and Efya perform their set in various bright backgrounds with a boisterous, joyous attitude.

RnB Princess – “Be Gone” (feat. Fuga the Pirate)

The signs that it’s time to end a romantic relationship are often evident, it’s just about reading them and making the terminating move. RnB Princess’s new single, “Be Gone”, portrays the resolve it takes to exit a situation once things start to get irredeemably sour. “You’re looking back at me, I wonder who’s within/I see your insecurities escape from where they hide”, she poetically expresses over Noiz’s aqueous keys and gently thumping bass synths, laying out her justification for opting to dip. She’s joined by Fuga the Pirate, who seemingly plays the provocative, nonchalant love interest in his rap verse, forming a narrative counterpoint that makes “Be Gone” feel even more lived-in and compelling.

Blxckie – “David”

South African Rap breakout star Blxckie is getting set to release his debut LP, ‘B4NOW’. Ahead of its scheduled May 15th release date, the Fresh Meat alum has been stoking hype by dropping a visual album trailer and the pre-release single, “David”. The new song captures the irreverent, assertive charisma that has characterised Blxckie’s ascent into notoriety, as he dismisses his doubters and projects his growing greatness. Over spacey and booming Trap instrumentation, the rapper references the biblical story of David killing Goliath with stones, threatening opps and going on to remind us that money is his favourite conversation.

BIWOM – “Company”

Cross River-born singer, songwriter and producer BIWOM has just released her debut EP ‘Confessions of A Rebel’, a succinct 6-track tape that finds her singing about life and love with help from collaborators such as Skales and P Classic. Standout opening track “Company” is an anti-love anthem which showcases the upcoming singer’s melodious vocals and her knack for writing relatable lyrics.

Over a brassy anthemic beat, she sings “Close to me, you think that’s where you’re supposed to be/I be moving antisocially/I don’t really want you in my company”, admonishing a love interest who has clearly hurt her in some way. For anyone who’s had several flings fizzle out right at their start, her words ring true as she says: “You’re perfect but you too dey lie/try no dey talk too much”. It’s a powerful introduction to the singer who clearly has a lot more to say.


Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter


BEST NEW MUSIC: SARZ & LOJAY’S DECEPTIVELY ADDICTIVE “TONONGO”

TurnTable Top 50: Gyakie’s “Forever Remix” spends its fourth week at No. 1

This week, Gyakie’s “Forever Remix” featuring Omah Lay spends its fourth week atop the charts. The single becomes the third-longest to debut at No. 1 since the inception of the TurnTable Top 50, joining the ranks of the 11-week reign of Omah Lay’s “Godly” and the seven-week rule of Teni’s “FOR YOU”. This week, it had 38.13 million impressions in radio reach, and tallied 10.12 million in TV reach (up 3.68%) and 323,000 equivalent streams (down 21.79%).

There are no changes in the top 3 this week as Peruzzi’s “Somebody Baby” featuring Davido stays at its No. 2 peak for a second week while Wizkid’s “Essence” featuring Tems holds at its position at No.3. This week, Cheque & Fireboy DML’s “History” jumps to No. 4 on the Top 50 following the premiere of its official video. “History” tallied 23.02 million in radio reach (up 33.14%), debuted with 7.76 million in TV reach and posted 908,000 equivalent streams (up 10.1%). It is also the highest-charting song on the TurnTable Top 50 for both artists.

At No. 5 is DJ Kaywise and Phyno’s “Highway” which is closely followed by Jae5’s “Dimension” featuring Skepta and Rema at No.6 and Dangbana Republik & Bella Shmurda’s “World” at No.7. Teni’s “For You” which topped the charts at the time of its release has now fallen to No.8 on the charts this week. To round up the Top 10 is Chike’s “Running (To You)” featuring Simi at No. 9 and Ajebo Hustlers’ “Pronto” featuring Omah Lay at No.10. Outside the top 10, some notable entries on the chart this week are Zlatan’s latest single “Cho Cho” featuring Mayorkun and Davido at No.12, Blaqbonez’ “Bling” featuring Amaarae and Buju at No.15 and Joeboy’s “Door” featuring Kwesi Arthur at No. 17. 

You can check out the full charts here.

Featured image credits/CommonJuls


ICYMI: A 1-Listen Review of Blaqbonez ‘Sex > Love’

A 1-listen review of Laycon’s ‘…Shall We Begin…’

As the world continuously spirals into an unending digital economy, the wall of divide that previously separated real life and fantastical mediums like TV, radio, the Internet is being worn down. The cloak of mystery that shielded –  and feted –  aughties icons like P Square, Don Jazzy, and 2Face started to show holes with the rise of a new cluster of talent at the dawn of the 2010s. That period’s focus on teenage superstardom and hypervisibility entrenched the Wizkid brand in ways we are still coming to terms with 10 years after. The music TV shows of the mid-2010s birthed seismic voices like Iyanya and Niniola. Social media’s proliferation in Nigeria from the mid-to-late 2010s minted social media sensations-turned pop stars like Mayorkun and Zinoleesky; and the rise of Big Brother Naija as a cultural force is threatening to reconfigure how we experience music –  showing earnest signs of providing Nigeria’s first reality TV super popstar.

In a way, Laycon is a pioneer — or more accurately, a popularizer — following the path of ex-BBN housemates like Efe, K Brule, and Debbie Rise, in using the clout of the widely-watched show to extend his music reach. Something about 2020 and our impulsive turn to TV and other forms of distraction during the pandemic made Laycon’s rise more lived-in, allowing some of his music to grow on people as he patrolled our TV sets endlessly. His 2020 project, ‘Who Is Laycon?’, a booming hip-hop affair, was strategically released to maximise his new-found visibility. Fusing therapeutic snippets with an ever-changing production palette, the rapper moved from Fuji-fueled glee on “Hiphop” to the passive aggressiveness of Fierce, as assisted by Reminisce and Chinko Ekun.

On The Question,”  the song that opens  ‘Who Is Laycon?’, Laycon admits to facing a contradiction: “I’m just trying to figure out what part of me they want,” he sullenly says. “Should I be myself or should I be the Laycon that they can understand?” It’s a telling peek at the hard choice between sustainability by way of pop attempts or cult standing by way of brilliant, if inaccessible, bodies of rap projects. So far, it would seem the rapper has chosen the path of sustainability, making a series of catchy bops since his tenure in the Big Brother House ended. The most exciting work from him comes from his promising partnership with Lagos-based singer, YKB.

To set the stage for the next stage of his career, Laycon is putting out a new album, ‘…Shall We Begin…,’ to showcase the evolution he has undergone and push into the core mainstream.

In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards Or Skip.

…And So She Spoke…

I am forever stuck between rolling my eyes and just going through the motions when I hear the now-standard family prayers on a Nigerian album opener. I don’t know where it started from but we need to divest from the family prayer industrial complex. That said, it is hard to criticise Laycon for looping in his mum on what is essentially a lap of honour for him. And I’m even enjoying the rhythmicity in her voice when she switches to praying in Arabic, the beat just compliments the cadence she’s half-singing in and it’s all round beautiful.

God Body

Laycon’s shadow-boxing here and it’s almost like he’s floating. The repetitive bouncy loop that he’s rapping against just gives a cinematic feel to the music. What a difference a year can make in the life of a man. While he has always sounded confident, “God Body” just sounds like he’s very aware of his own elevation.

Verified” (feat. Mayorkun)

It’s always time to go off when you hear “of Lagos,” but I don’t like how Laycon came into this song and he’s dragging Mayor’s pace but The Mayor Of Lagos just remains undefeated. Or not. His voice here just sounds off-kilter. The message seems right, the beat sounds solid as well but the execution just seems to be off and the chemistry is pretty much non-existent. Will definitely not be revisiting, shouts to Mayor for the ad-libs, joyous as always.

All over Me

Some singing from Laycon here, The production is the gospel. The blend of hard hammer percussion with the liquid drums makes up for Laycon’s delivery that’s flat at times. The concept is truly alright, the performance just lacks the drive to push it to truly great levels. Decent try by Laycon.

Wagwan

This one is so comical that it fits right into what all need to be listening to in this current moment. We all need the money man. I can hear shades of Reminisce here, just the way Laycon flows in the middle section of the song. Awesome low-stake song that sees him mix afrobeats and hip-hop. Will be revisiting.

Kele

There’s an ethereal feel to Telz’s production that puts at ease. Now, this is afrobeats. Love how smoothly Joeboy glides across the beat here, it’s all effortless. Laycon’s verse is mostly complementary because Joeboy already finished work. The pace, too, is just right, vintage Joeboy here.

Jeje” (feat. Terri)

Terri is one of afrobeats’ great enigmas. He’s clearly talented and has all the right buttons but he can just inexplicably fall off the news cycle. On this song, he’s a breath of fresh air, advancing the no stress gospel that his mentor, Wizkid, has popularized in the last three years. Laycon’s verses here are not working for me, no need for boasty lines, just give a lo-fi verse because Terri already gave you a pedestal to work on. For much of this album, Laycon and his guests have not seemed to be on the same page, that’s worrying because the attempts are really great, but something intangible keeps letting the songs down. 

Bam Bam

Pop Laycon is out to play, and “Bam Bam,” is as raunchy as I’ve ever heard him. The sheer shock value of this song is great, I didn’t see it coming, and he seems to be carrying it well. Maybe this is a sign of what sort of pop songs he should be making, just slowing the pace enough to make his verses straddle that melted point between rapping and singing. I loved this one and will be returning. 

Want You Back” (feat. Teni)

This is very much not my type of song. It all feels too ponderous between Teni and Laycon. When Teni stops belting and starts talking, there’s some hope but I’m still not getting into it. The idea behind this song is humorous as hell but, again, the execution just falters.

Fall for Me” (feat. YKB)

YKB is such a musical savant. The way he makes the whimsical bits enjoyable is so interesting and some of Laycon’s best collaborations have come working with YKB. Here, they combine for another fire jam that features some cooing from YKB and even the yelps from Laycon just come through nicely. More of this please. 

My Lane

I truly like this alone version of Laycon. It’s honest. It’s slightly raw but there’s just a heartfelt touch to what he says when he goes into these pockets. Working with Major Bangz, he reflects on his life in the moment and chooses non-confrontation as he steps into a new part of his life. The light flutes that accessorize sections of the song also help, going to listen to this on one of my late night musing sessions.

…And So They Spoke…

This is so damn beautiful. I admit to being a sucker for ballads but this is quite a song. I like the back and forth between English, Yoruba, and Pidgin. It’s too short though, a lovely way to end a rollercoaster of an album nonetheless.

Final thoughts

‘…Shall We Begin…’ definitely shows that Laycon has improved as a musician. His singing voice is more guided and he can work, at differing levels, with pop stars. There’s a willingness to step outside of his comfort zone and ‘…Shall We Begin…’ sounds more like the beginning of  a journey than a mark of actualization; he is still in the process of mastering his artistry and deciding what route to go towards. 

At the same time, there are moments when it feels like time was not taken to flesh out ideas and make this project a connected body of work like ‘Who is Laycon?’ was. Perhaps, that’s the price of making a pop play but it weakens the overall strength of the  album at times and with the spotlight this bright, it leaves questions of where he goes from here. There’s love, chest-thumping, and candor aplenty across the 12 tracks of ‘…Shall We Begin…’ and, within certain tracks like “Kele” and “Fall for Me,”promise for more assured showings in the future. 

Listen to ‘…Shall We Begin…’ here.


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


ICYMI: BIG BROTHER NAIJA IS REACHING INTO THE MUSIC INDUSTRY

Songs Of The Day: New music from Burna Boy, Blaqbonez, M.anifest more

After working tirelessly for the majority of the past quarter, crossing our T’s, dotting our I’s, and putting you unto some of the hottest new artists on the continent, our editorial team was left feeling burnt out and unable to deliver you, our ever-loyal community, the content that you signed up for these past few years. To that end, we took a much-needed editorial downtime to do some necessary housekeeping and realign ourselves with our mission of championing the sounds of tomorrow: today.

We know that it can be hard to keep up with all the new releases out there, even in a year when many of us had time to catch up with all the new music at our fingertips. So, in order to keep our content ever-changing and current, we’re rethinking the ways in which we put you onto new music; whether that’s via our radio show which premieres bi-weekly on No Signal or our regularly updated Apple Music and Spotify playlists or a monthly roundup just like this one, we’re committed to keeping you on the pulse with the hottest sounds. Monday’s special selection had Ladipoe, Sakordie, Merry-Lynn, Kwesi Arthur, and many more. This weekend’s selection has Burna Boy, M.anifest, Blaqbonez, Ajebutter, KDDO and Davido, Le Mav and Tay Iwar, Lojay and Sarz, Tòcame and many more. You’re Welcome.

Burna Boy – “Kilometre”

Burna Boy is on a blistering run. Since bagging the Grammy’s for the Best Global Music Album earlier this year, he’s teamed up for a number of collaborations with artists such as Justin Beiber and Becky G. For his first solo single of the year, “Kilometre”, the PH-born singer is now reflecting on how far he’s come in his career while calling out all the opps who don’t believe in his undeniable star power. Over the Chopstix-produced beat, he sings “Odogwu ni me sha, I don waka many kilometres/I don tey for the game”, clearly in a celebratory mood as he rightfully brags about the challenges he’s had to face to get to this point. Each word carries a profound significance, this is the result of consistent hard work and determination for years in the making. Screw being humble.

Blaqbonez – “Heartbreaker” (feat. Nasty C)

After months of teasing his major label debut album, ‘Sex Over Love’, with promotional singles, “Bling” featuring Amaarae and Buju and “BBC Remix” featuring Tiwa Savage, the wait is finally over. On the project’s second song, “Heartbreaker”, the rapper teams up with South African rapper Nasty C for an anti-love anthem that fits into the project’s overarching theme of physical intimacy over forming any romantic connections. Singing, “This hoe tell me that she like me, hope this dick is enough for ya/I’m a heartbreaker” over the song’s drum-led production, Blaqbonez states his intention to keep the relationship strictly sexual to his muse reinforcing the jaded detachment of rappers who are known for their numerous sexual partners. Nasty C is equally disrespectful on the number stating that his hood status is the reason he can’t commit beyond the physical.

M.anifest – “Confusion”

Ghanaian singer and rapper, M.anifest has just released a new single titled “Confusion”, the follow-up “No Fear” featuring Vic Mensa and fellow Ghanaian singer, Moliy. Over the song’s groovy production by Juls, M.anifest paints a picture that visualises his experiences as an African man who faces obstacles set up against us from a choking capitalist system and years of bad governance. “No money dey but they all pray hard/The whole system on hold up, even adults no be grown up” he sings, singing about experiences that will resonate with an African audience, no matter which country on the continent they are from. Confusion is rife in Africa and M.anifest is the people’s voice.

Ajebutter22 – “King Of Parole”

This is not a drill. Butter szn is back just in time for the weekend. On his first solo single of the year, “King of Parole”, the singer and songwriter asserts his position as the minister of vibes and entertainment over his city, Lagos. Over the song’s exuberant production which borrows from the popular Amapiano sound that is taking over soundwaves across the African continent, Ajebutter sings “Whatever you want is what you get, baby don’t fret Butter is here” littering the song with potent bars about his ability to deliver all the promising and soulful vibes that we’ve come to associate with the singer. It’s clear that he’s back in full swing with this playlist and DJ set-friendly single.

KDDO – “Beamer Body” (feat. Davido)

KDDO and Davido have linked up for a new uptempo romantic single titled “Beamer Body”. The new single continues KDDO’s increased role as a singer, an ability he’s less renowned for in comparison with his production work. On “Beamer Body”, KDDO and Davido sing about the glorious female form; celebrating African women for all their assets and declaring their love for them. “Girl there’s something about you/your body is a killer” sings KDDO over an array of percussive instruments and delectable Afropop drums. The accompanying music video finds both artists looking at home in their kingdom as a gamut of thick and skinny women dancing alongside them. 

Adekunle Gold –It Is What It Is

Last year, Adekunle Gold delivered ‘Afropop, Vol. 1’, an interesting collection of songs that showcased his undeniable growth and steady incline over the years. This year, he’s been relatively lowkey but not anymore as the singer/songwriter has released a brand new single titled “It Is What It Is” the first track from his highly anticipated fourth studio album which will be released later this year. On “It Is What It Is”, Adekunle Gold sets the record straight. If it’s going to cost him his peace of mind then he won’t be involved any further. Singing, “No energy for nobody wey no happy for me”, over the song’s drum-led beat, the singer embodies the song’s title and talks his shit. 

Speaking on the single, Adekunle Gold said: “The truth about freedom is it is only found in clarity of self.  I believe this song is about letting yourself be free from every other voice but the one guiding you internally.” With “It Is What It Is” Adekunle Gold continues to show his ability to meet the demand for music that is consistently showcasing a unique mixture of versatility and style. 

Odunsi The Engine – “Fuji 5000”

Odunsi The Engine has a charm for releasing some of the best visuals in these parts. This time around, he’s linked up with his friends and family for a vibrant feast shot and directed in his home city Lagos. The video for his latest single, “Fuji 5000”, is set in a world entirely of the singer’s making, complete with the baddest girls, Cruel Santino, and a fire intermission all shot through a trippy rotating format. It’s exactly the type of video you want to add to your watchlist this week.

Le Mav – “Supersonic” (feat. Tay Iwar)

Last year, 80’s sounds producer Le Mav teamed up with Abuja-based singer, Tay Iwar for a joint EP titled ‘GOLD’, a transcendent pairing that felt like it might have been divinely ordained. For his first official single this year, the duo are back together again for the sweet-sounding “Supersonic”

Over glittering keys and subtle drum patterns laid down by Le Mav, Tay Iwar sings “You changed my life from the first time I met you/Girl I’ve been knocking on your door” expressing just how much a muse has placed him under a spell. The intoxicating experience seems to take the singer by surprise as he declares “Girl, you got me”. Tay’s soft vocal inflection on the track stands in contrast with the urgency of the song’s production but he never breaks a sweat, gliding smoothly over the array of melodies that sound tailor-made for post-midnight intimate dancing. 

Lojay & Sarz – “Tonongo”

Afropop singer Lojay has just released a new single titled “Tonongo”, a brassy anthemic number that features the skilled production of one of Nigeria’s prolific beatsmiths, Sarz. Singing “Put all your soul into it, you make the thing go tonongo” over the song’s mid-tempo production, Lojay quips about his experience falling in love with a dancer with the most enthralling dance steps.

Sarz’s slick production which blends contemporary Afrobeats with Hip-Hop and sensual R&B sounds provides the perfect backdrop for Lojay’s sweet-sounding vocals as he declares his affection for his muse. Speaking about the new single, the singer shared ’Tonongo” is about expressing the depth of emotion that lies beyond the surface. The single was inspired by the atmosphere of a strip club – moody and dark – a fitting ode to the dancer the song was written about. It’s so spiritual. I’m just a vessel. I hope people relate to it and find beauty in it.” The single is the precursor to their joint EP set for release in coming weeks.

Zarion Uti – Proud (feat. Minz)

For his latest single, “Proud”, singer Zarion Uti is speaking candidly about his experiences—he’s proud of how far he’s come. Alongside Minz and over the groovy mid-tempo production by Telz, he sings, “Who God don bless, no man can curse/Dey must feel the gbedu, omo na by force”, declaring that he’s destined for greatness and can’t be deterred by adversaries on his way to the top. At the end of the song, the lyrics, “Hungry man no fit get holiday”, ring true, these are two artists who are working their way to the top of the chain against all odds 

Spirit Disco – “Tòcame”

Nigerian-born and Barcelona-based musician Spirit Disco has become popular in recent years for his eclectic Spanish Afropop and Alternative fusion sound. His latest single, “Tòcame”, is an uptempo number that translates to ‘touch me’ and it’s a Spanish Afropop track that is inspired by young intimacy in the multicultural city of Barcelona. In the video, which was directed by the singer himself we see friends and family enjoying each others company in vibrant sentimental settings that will surely resonate with listeners.

Featured image credits/Instagram


ICYMI: Songs Of The Day Special: 10 standout tracks from the last two weeks

A 1-listen review of Blaqbonez’s “Sex > Love”

In 2017, Blaqbonez dropped his seventh mixtape, ‘Last Time Under’, arguably the most pivotal creative turning point in his career. In the years prior, Blaq had set himself as a battle-tested rapper with a staunch inclination towards crafting bar-heavy rap music. On that mixtape, he broke from and started his journey towards the more malleable artist he is these days, delivering a vibe-centric project that leaned heavily on a spacey Trap soundscape. It was also a prophetic moment foreshadowing his entrance into mainstream (rap) music conversations in Nigeria.

Since signing to major label Chocolate City, initially via the 100 Crowns imprint, he’s released ‘Bad Boy Blaq’ and its re-up, both Trap-fusion tapes, and ‘Mr Boombastic’, an EP with heavy Dancehall dalliances. These days, Blaq is considered one of the more popular rap/sung hybrids around, owing to the evolution from his willingness to experiment and smart, aggressive self-promotion moves across social media. “I feel like my movement is a wrecking ball,” he told The NATIVE in a 2019 interview. At the moment, it still feels like a bit of an overstatement, but it’s impossible to deny the impact he’s been able to generate for himself, and the increased level of prominence he’s accrued with each new release.

Today, Blaq’s long-teased “debut” album, ‘Sex > Love’, is finally out. He’s already stated that the project will feature all versions of Blaqbonez listeners have come to know, a sign that he’s more comfortable and confident in being a multi-faceted artist. The pre-released singles so far, “Haba” and “Bling”, can be best described as pop-rap hybrids, best suited for dancefloor shenanigans. If he’s bringing all sides of his artistry to bear, there’s way to more to explore on ‘Sex > Love’. Time to strap in and get into the gospel of Blaqbonez.

In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.

“Novacane”

Bird chips, a glassy guitar and Blaqbonez moaning. Interesting start. We already getting the hedonist talk, nice flow by the way. That drop was a bit underwhelming but the bounce is infectious, heads will bob and shoulders will shimmy to this. “My nigga, this is push to start”, get your brags off, but that following line about weed was corny. Frank Ocean already set the bar for any song named “Novacane”, and this one isn’t anywhere near it. Haha, this is funny, someone remind of the YouTuber who does this hilarious battle rap thing. Serviceable start, never really considered Blaq as a strong intro guy.

“Heartbreaker” (feat. Nasty C)

BeatsbyJayy tag, I’m expecting a lot and I’m already impressed. This bounce is a proper upper body mover, and the pocket Blaqbonez picked is very solid. “Hope this dick is enough for ya, I’m a lover not a heartbreaker”, haha interesting. Nasty C is here, he has such a Teflon flow. A slightly different pocket but the groove is just as entrancing as Blaq’s. Ooof! That helium-voiced switch hit my soul different. These in-song flow switches is one of the reasons Nasty C is ahead of most of his peers. Sounds like a keeper, will revisit.

“Bling” (feat. Amaarae & Buju)

Ah, the single I didn’t really like. The beat is a gentle marvel, though. The slinky Dembow groove, the shimmering keys and soft horn blasts. “She be screaming, I be screaming” is a good picture of great sex, not that I know because I’m a virgin. (My mum reads a lot of the things I write, apparently.) Afropop Amaarae hits different, she makes it sound alluring, but this feature doesn’t sound as effortless as it should be. Buju is a better fit here, I like that his voice keeps things ever so slightly rustic, very distinct tone. Type A brought a good beat, just not sure I’ll ever willingly press play on this.

“Never Been in Love”

Eish, what are these lyrics to start? I thought we agreed to leave the whole “eating pussy like groceries” thing in 2014 where it belonged. Don’t get me wrong, I’m all for cunnilingus but this description is disturbing abeg. Anyway, this beat is heat, similar in weight to “Bling”. I like the occasional impassioned yelps in Blaq’s voice, adds a nice dimension to the song. Ehh, I’ll check up on this again but it’s not doing too much for me.

“Don’t Touch”

I love this guitar, need the producer credit. You know what? Afropop Blaqbonez has a great ear for beats, this is really solid. Rappers wanting that crossover hit should get Blaq to do some A&R work for them. This is Mr. Boombastic Blaq with a bit more elasticity in tone, very playful with a quite catchy melodic flow. That “20 man” line makes me miss old Wiz—‘MIL’ still a classic, though. I need more in this songwriting to reel me in, a memorable line somewhere in there I can quote. Beat switch, sounds very ‘80s new wave but with a Hip-Hop flip to it. Lovestruck Blaqbonez, interesting. I can understand becoming a player if you get heartbroken after all the confessions. Will revisit.

“TGF Pussy”

Jayy tag, very oceanic in a way that reminds me of 40. “I will not release before the chose hour”, LOL. Blaq has such a casually animated flow, something like a toddler energetically flailing its arm. That’s the sort of imagery that crosses your mind when you’re around kids all the time. LMFAO, what the fuck is this? “Thank you for that pussy that you gave to me” is wild! I’m actually dying of laughter. There’s actually stuff to unpack here, but I’m tempted to call this a keeper.

“Okwaraji”

This album has moved rather briskly. Jayy gave Blaqbonez the heat pack, as he should because 100 Crowns affiliations. Did he just say something about bitches? This is a 180 switch from the last few songs. “Why I go dey chase person, when any day she fit dey with another person?” Okay, I want to do an interview with this guy where he breaks down his past relationship, there’s so real drama in here and we deserve the backstory. “If you don’t want dick, please get the fuck out of my space.” This boy is running mad, or maybe he’s trying to warn guys to fear women. Okay, this is just toxic but the sort you can enjoy.  Will come back.

“Fendi” (feat. Joeboy)

Afropop Blaq with the ear for beats again, I can see this going off at house parties. Blaq know how to find a catchy melodic flow but the songwriting needs work, this hook could’ve been much catchier. Joeboy sounds at home on this, solid contribution. Okay, I take back what I said about the hook earlier. This is pretty solid, not in the way that it will burrow into your head on first listen but I can see it growing on many people with time. Oh, there’s the Emeka the Stallion reference I’ve been looking for. This is a slapper, potential single.

“BBC [Remix]” (feat. Tiwa Savage)

Very few people have Spax’s range amongst Nigerian producers, this sounds different from a lot of his work. I liked this when it came out, both the original and the remix. This hook is golden, but the D-O influence is so loud it can be presence. Tiwa Savage came in with the swagger of Athena, goddess presence. A lot of this album is very fitting for a house party, familiar bodies squishing against each other in a cramped place.

“Faaji” (feat. 1da Banton & Bad Boy Timz)

Shit, someone remind of this intro sample being played on guitar. Fuck. Man, Tuzi is a beast with groovy guitar chords. Did Blaqbonez just say something about spitting lava during Covid? I want to roll my eyes but this jam is slapping, this beat is so good. 1da Banton! Always in the mood to spin out those ear-grabbing melodies, more people should be listening to this man. Heh, this hook isn’t doing too much for me. Timz is always so ebullient. I want to beat that Ice Prince line with slugger bat, but this is a pretty solid. Omo, this hook is sneaking up on me. Is this is a pattern? Find out on the next episode of Dragonball Z.

“Zombie” (feat. Psycho YP & Laycon)

Laycon! He also has an album out today. Oooh, this is groovy Trap, the bounce will compel shoulders to vibrate. I like Blaq’s flow, not so much the lyrics. Okay, I like this hook on first listen. YP! Such a trademark flow that never gets rote, and the confidence is just so intoxicating. He’s water whipping in this pocket, rapping like he caught the Holy Ghost. Why is Laycon’s voice hoarse? LOL. “I don’t laugh with my money, I don’t take no jokes”, but I’m kinda laughing at the flow on this verse. Apt that A-Q follows immediately. Man, I’m so grateful at how much Q’s flow and enunciation has grown over the years, the definition of a rapper getting better with time. I rolled my eyes at that “Face value” line. Yeah, this is like “Lowkey” from ‘Bad Boy Blaq”.

“Best Friend” (feat. Cheque)

I need to confess this now: Trap Cheque does not really appeal to me. Okay now that that’s out of the way, I don’t mind this hook. Wanting the best for someone is how you know you’re in love, which in the context of this album means you’re fucked because Blaq said they’ll walk all over you if they know you have feelings for them. 808s with reverbs on them can never be defeated, it’s like the Chris Paul mid-range jumper of drum packs, extremely reliable even if it’s familiar. I like this Cheque verse a lot more than I did Blaq’s. This might just be a keeper.

“Cynic Route”

Nocturnal keys, sounds fitting for a midnight drive. Blaqbonez is mirroring Yoruba demon behaviour even though he’s Igbo, that’s what happens when you stay in Southwest Nigeria all your life. By the way, Yoruba men don’t cheat, it’s just bad PR. I can see the thematic use of this song in the context of this album, but I can’t promise to not skip it or listen absent-mindedly if it comes on.

“Haba”

Tempoe threw some crack on these intro horn, so addictive. I remember the several videos Blaqbonez made in support of this song, some of the funniest and most wholesome content on the internet in scary times. That first lockdown seems like a lifetime ago, but Corona is still outside o. The noisy promotion of “Haba” is emblematic of both Blaq’s tireless ethic in pushing his music, and a period where everyone was aggressively engaging content in the name of escapism. Unfortunate it had to share space with the “Don’t Rush” challenge, ain’t nobody choosing the “StreamHaba” challenge over binge watching beautiful women aggressively shoving their beauty in our collective faces. Still a slapper, this one.

Final Thoughts

Blaqbonez’s debut album, ‘Sex> Love’, is several things: pleasure seeking, fun, self-involved, excellently produced, pop-oriented, and more. This is a set by a twenty-something year old trying to convince us—and himself—of his chosen ideals on romantic situationship, a complex topic that often defies easy logic. To do this, he leans on a sonically varied palette that pulls in from slinky, mid-tempo Afropop and blown-out Trap beat, an apt choice that accentuate his vivacious rap flow, restless melodies and sneakily hooky songwriting.

Clearly crafted to catch the attention of a wide range of listeners, ‘Sex > Love’ hedges its bet on the sort of colourful exuberance that dominates dancefloors and local streaming charts. What the album packs in commercial ambition, though, it lacks in an entirely compelling narrative. Instead of proving the theory of his album with some tact and nuance, Blaqbonez regurgitates tropes of jilted men becoming toxic, sex-crazed players. It makes for an album with identifiable thematic points, and the pop sheen positions several songs as potential big singles, but as a whole on first listen, ‘Sex > Love’ is more of a serviceable consolidation than it is a needle-moving project for Blaqbonez as an artist and public persona.

Listen to ‘Sex> Love’ here.


Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter


Songs of the Day Special: 10 Standout Songs in the last Two Weeks

Fresh Meat: Best New Artists (April 2021)

Staying True To Our Mission Reshape The Face Of African Popular Culture, The NATIVE Team Curates A Monthly List To Spotlight The Best And Most Exciting New Artists On The Continent. Some Of These Artists Have Dropped Songs To Some Regional Acclaim, While Others Are Brand New On The Block, Working Towards Their First Big Break. Tune In To What’s Next. Click Here For March’s Fresh Meat.


This month, the NATIVE editorial team has been looking into the different ways that we can keep artist discovery fresh and current to stay in line with our commitment to highlighting the sounds of tomorrow: today. While we’ve found ways of keeping you up-to-date through a myriad of new audio and written techniques, there’s no denying that there’s been a seismic shift. Without limited ways to experience music thanks to the panoramic, it’s become increasingly difficult to discover, whilst at the same time, has never been easier.

This is why we created Fresh Meat one year ago, when COVID-19 had just reared it’s ugly head. Each month Fresh Meat has kept us updated with all the new artists who we believe are at tipping point, and will disrupt the afropop landscape as we know it.  In our first ever Fresh Meat, we said that to put it in perspective, if we were to make this list same list 10 years ago, artists like Wizkid & Davido would have been fresh in the game, probably gearing up to their debut on the scene to introduce the world to their sound. In our first list, the likes of Omah Lay, Bella Shmurda, FOREVATIRED and more were just making their mark and have all grown exponentially since.

New acts keep landing on the scene and growing at similar rates, from Ghana’s Skillz8Figure to South Africa’s Ricky Tyler joining the ranks of the new vanguard of hitmakers who are championing Africa’s sounds on the global stage. So for April’s edition. our editors have very carefully compiled a list of new, upcoming, and familiar acts, who we believe you should keep close tabs on. From Mombasa’s newest star, Tg.blk, to Ibadan’s fiercest lyricist, Jay10, and more, below are some of the artists you have to pay close attention to. Find out more here about donating to the medical needs of Fresh Meat alum, Victony who was in a car crash this week.

Chimzy

Abuja-born singer, Chimzy has been making noise in the DMV and across the diaspora for a minute now, but if you’re only just catching on now, you’re in for a real treat. The singer and songwriter has been building momentum for a few years now with regular single releases featuring a host of talented collaborators including fellow Abuja rapper Psycho YP and Ghana’s Joey B, alongside two EP’s released in the last four years that accurately showcase the wealth of talent that the artist possesses. 

Chimzy’s confidence in his abilities is unmissable. His music is conveyed through airtight and relatable lyrics about love, sex, success, and life, which are delivered while expertly maintaining a level of bounce and playfulness that’s refreshing and welcome in today’s musical landscape. This confidence in his abilities is due to years of hard work and dedication in the making. The singer began writing songs from as young as the fourth grade, a talent he cultivated for several more years until 2015 when his family relocated to the States. By 2016, Chimzy had put out his first couple of singles on his Soundcloud beginning with the infectious Afro-dance number titled “Dance With Me”. Revisiting it now, the song clearly borrows its sonic influence from the Afropop hitmakers of that time including Wizkid, Maleek Berry, Wande Coal and more relying on the percussive-led sonics of Afropop. Chimzy soon found his beat delivering timeless music that showed his knack for melodies, cadence and flow. His first official single on Apple Music is the groovy number “Too Bad” which was released that same year. The mid-tempo romantic number that found him waxing poetic about a muse and confirmed Chimzy’s glaring potential. What followed next was a continued commitment to delivering some of the most beautiful, incredibly produced, and emotionally layered sounds coming out of the African diaspora culminating in the release of his debut EP ‘True Self’ in 2018.

Two years later, he released his sophomore project ‘Chimzy Vol.1’, a 5-tracker that saw the singer delivering a mix of aspirational bops and romantic cuts which heavily relied on bass-thumping and percussive beats that would certainly have any listener dancing its rhythm. On the EP, he comes across as the romantic lover on “By My Side”, the laser-focused artist on “Not Today” and even as the underdog on the rise on “13 Days”, endlessly spinning compelling tracks that reveal the subtleties of his personality. Chimzy’s melodies stick after the first listen. Whether it’s the Psycho YP-assisted “Ijoya” ,which plays on the nostalgia of many millennials and Gen Zs who grew up on Weird MC, or the Jabani-produced “Nobody Send”, Chimzy is improving upon his sound with each new release while showing that he’s up to par for any task at hand. As he makes a play to widen the potency of his arsenal this year, it’s high time you get to know the DMV-based artist.

Jay10

Jay10, born Jay Adebisi, raps with the casual sprezzatura of a maestro, honestly reflecting the tensions and joy of his life over differing production patterns: a stripped piano instrumentals here and another vivacious cut in another place. The British-Nigerian also gets around, putting up a steady stream of music out over the last four years that has seen him try his hand at a number of styles, swerving between the linear flow pattern of Welcome To The Show and the candor of  Open Letter, where he anguishingly mused about the fact that he seemed to have lost the ability to pray and his loosening grasp on his identity. 

Stuck between Jay10’s exciting command of enunciation and cadence are echoes of scene-shifting vision that allows him paint sly horrorcore vignettes on last year’s ‘Nights In The Rain where he solemnly confirmed his evolution as an artist and human. On the project’s titular song, he raps dourly, “My friends keep asking where is the old Jay, but I put him in a casket”. It’s a soberingly honest reflection of where he was in his journey. One month after ‘Nights In The Rain,’ Jay returned with the project’s second part, gliding smoothly off SomaDina’s velvety vocals on 4 A.M In Neverland, while “Climax”, a collaboration with RUDEBOI, sees him attempt to rap in pidgin, pushing outside his comfort zone. 

The clearest image of where Jay is headed in visible on the ‘Deleted Memories’ series, where he raps over rhapsodic beats that accentuate his candid bars, like when he ends a story about friends discounting his music as worthless with the almost jarring line, “And I still hear their voices in my head”. On “How I Feel”, he chronicles the aches that caused multiple relationships to fail, recounting the aching details lucidly. His latest body of work, ‘Deleted Memories 2’, sees him move from angst being a thematic accompaniment to a well-detailed cynicism that is expressed on songs like “DM2” and “MR. DREAMER”. By the time “SAFARI” with Zilla Oaks comes on, his mood has shifted to empire-building, showing the fluidity that makes him so exciting.

Jeriq

“I’m scared of dying young, I’m scared of dying broke”, Jeriq admits in the opening seconds of “No Cap”, the intro song of his 2020 debut EP, ‘Hood Boy Dreams’. That line is a worthy summation of the driving force of the emerging rapper’s sizable catalogue. Rapping in Igbo and intermittent (pidgin) English, Jeriq conveys personal authenticity and a sense of urgency in his music, ensuring that every line is doused in the street-bred ideals that guide him, as well as grand ambitions for a brighter, wealthier future. This is music effected by years of feet pounding the pavement in order to sate hunger pangs, and the results can be sometimes rough-sounding but it’s consistently riveting.

Hailing from the 042, Nigeria’s Southeast city of Enugu, Jeriq plays into several archetypes of current-day indigenous rap. His music reflects his financially frugal upbringing, lessons learnt from roaming his ensuing association with the streets, and it projects aspirations for largesse. At the same time, he’s a bit of antithesis to the trends of street-bred music, opting to spill out his bars on contemporary Rap beats rather than over groovy, dance-ready production. ‘Hood Boy Dreams’ is replete with spacey, sombre Trap instrumentals, the type of musical bedding for Jeriq to cut through with his mix of introspective and street-wise raps. On the soulful “Remember”, which got the coveted Phyno remix, he ponders street life, wishes for “Western Union every Monday”, and preaches the importance of focusing on self-sufficiency.

A significant portion of Jeriq’s music caters to shoring up his narrative as a young man on his grind, and his clear-eyed, resonant lyricism and loosely commanding rap cadences are wonderful tools in sketching out that portrait. At the moment, he’s working his way to become a more magnetic and malleable presence behind the mic. On ‘Ea$t N We$t’, the new joint EP with DMW rapper Dremo, Jeriq focuses a bit more on his rising acclaim while still touting that paper chase mentality and street-wise essence. On the tape, he experiments with Drill and Amapiano, retooling his flow, showcasing his sharpened skill as a songwriter, and commanding the spotlight alongside his more established colleague.

With the relatable narrative to his music and a clear commitment to technical progression over his catalogue, Jeriq is undoubtedly one of the most exciting young artists in Nigerian rap music. Just as there’s no limit to what sound he will be able to take to in front of the mic, there are no ceilings to the level of popularity he’ll climb to very soon. Make sure to tune in to him now.

tg.blk

For the 22-year-old newcomer, tg.blk, the world is her playground. The rapper/singer born and raised in Mombasa, Kenya makes music that embodies the realness and authenticity of her sonic and personal world. With only four official releases to her name, she’s spent most of the past year carving out her own unique lane in the scene with her slew of intricate coming-of-age hip-hop.

She seemed to appear out of nowhere this year, arriving on the scene with back-to-back releases at the beginning of the year which included the light-hearted number “Blk.berry”, the succinct charmer “Extra Lazy” and the impressive “Cap Chronicles” but the Mombasa-native has actually been patiently honing her craft and improving on her skills for the past four years. Her Soundcloud page dates all the way back to 2017 with her earliest single titled “I Don’t But I Do”, a piano-led romantic loosie that finds her seamlessly switching between rapid-fire verses and melodramatic choruses. “Caught up in the deep end/I sound like a broken record” she quips, mulling over conditions of the heart with scalpel-like precision.

These days, nothing much has changed tg.blk still uses her music to explore love and all its complexities on nearly every release. As a young woman growing up in Kenya, she tells me that her romantic options have always been limited and due to this, she spent many years chasing unrequited lovers. “I constantly found myself in relationships where I was either being used as a stepping stone, a past time or a hidden away secret,” she admits, unafraid to speak openly about how she’s been burned in the past by old flames. Her latest single “Love Being Used” is her most honest and vulnerable offering yet as tg.blk sings about her romantic trysts with a resentful tone. Over the haunting beat produced by baileydaniel, she sings “Love being used, I don’t know nothing else/Imma smoke weed, won’t change myself”, resolving to focus on herself and her stash of weed to help her get by her heartbroken days.

Speaking about the new release, the rapper shares that “Love Being Used” is me being honest about the toxicity and pain I put myself through just to feel loved while being painfully aware of the situation I put myself in. This song is my ode to painful young queer love”. Her strained tone conveys the depth of her emotions; this type of pain feels familiar and lived-in almost becoming instantly recognisable to anyone who’s worn their heart on their sleeves and suffered for it. It’s still early days for the Maryland-based artist but we’re certain that if she keeps making songs like “Love Being Used”, her moment would come soon.

JakeDoe

The voice that welcomes you to Jake Doe’s ‘Terms and Conditions 1’ is a distorted lilt offering flowers to a love interest. It’s a curious choice to open your debut body of work with a projection of your voice, but if you look beyond  the abstractions and obfuscation that litter Jake’s work, you can hear the solemn exterior giving way to the tenderness that sits squarely at the core of his art. The Lagos-based singer who grew up on a cocktail of sounds from the continent and beyond is a post-genre artist, making music that cuts across hip-hop, R&B, and afro-fusion while enlivening his content with a mix of blitzkrieg rap bars and  soulfully-sung ballad crafted with rigour. Across ‘Terms and Conditions 1’, his thematic fixation with investigating love from the perspective of man and woman provided exciting juxtapositions like “F.B.W.A.H.O.G” and folkloric cuts like “Beautiful (Interlude).” The E.P. ends with “Kismet,” a six minute rap-sung collaboration with regular creative partner, Givens.

A brief detour between projects resulted in 2020’s ‘To A Bedroom Devoid Of Love, a stunning six-track body of work memorializing the moments when love goes to ashes. Meshing soul and hypnotic R&B, Jake situates his music in a hollow room that matches the sunkenness of lost love. From the opening snares of “Mourning Skies,” he paints a picture of the stages of grief, subverting the typical interpretation of denial for a halfway sort of hope that still recognises the implausibility of his request. “Squad Games” sees his bubble get expanded before flowing into “Books,” the emotional centerpiece of the project. On Books ,there is melted want masquerading as bargaining a favourable position, it is all bolstered by the acuity of Jake’s voice. For the rest of the project, he bounces between acceptance and stepping back, working on adding a cinematic flair to his work.

Jake’s latest project, ‘Terms and Conditions 2’, sees him add another favourable sheen to his work, mixing his grunge-style lyricism with outward-facing rhythmicity. The deepening reverb that opens up “SPACES” is a throwback to the retro-pop of ‘80s music. He’s also not a love-lorn chirper anymore, interjecting his verses with a bouncy carefreeness. The tempered expectations of “A2D” transitions into “ROTTEN,” a joyful collaboration between Jake and musical enigma, Deji Abdul, that sees him give in to unencumbered attachment to a love interest. In spirit, ‘Terms and Conditions 2,’ is a perfect blend of Jake Doe’s precise – almost surgical – songwriting and his knack for universe-building.

Sawcy & Money Badoo

Sauwcy and Money Badoo connected the way many young people connect these days: Social media. After a month of following each other on Instagram, the pair realised they lived a floor apart in the same building, resulting in an extremely close friendship in the 5-plus years since their budding rap careers. The pair bonded over their love for writing raps a year into becoming friends and, while they both record as solo artists, the bulk of their official releases so far have been together as a duo, an arrangement that capitalises on the glaring, near-flawless chemistry between the two.

In late October the duo released their debut joint EP, ‘MK-Ultra’, a Trap-indented set that finds a wonderful balance between introducing Sauwcy and Badoo as distinct artists, and displaying the ways they both complement each other. Although they both have a preference for writing in direct one-liners, the diverging point lays in the tone of their voices and the variety of ways they express themselves. Sauwcy carries the gruffer voice of the two, with a propensity for snappy cadences and somewhat robotic, auto-tuned singing, while Badoo has tuned her feather-light voice towards airy rap flows and floating, but positively dizzying, melodies.

At various times in the music, Sauwcy and Badoo are like a synchronised swimming pair, or a wrestling tag team, or every sort of relevant two-person combo in between. ‘MK-Ultra’ is a clear representation of their real-life bond, an EP where they dovetail around each other while rapping and singing about hedonistic joys (“WTA”), high ambitions (“Do or Die”), and feeling “A.L.I.V.E”. Where most rap duos rely on a sense of one-upmanship, Sauwcy and Badoo hedge their joint music on companionship, a detail that might sound corny on paper but is really endearing and electrifying on wax.

Sauwcy and Badoo’s preference for Trap music as their go-to sound also plays an integral role in the replay worthy allure of their music, lacing each variant of the eclectic rap subgenre—ratchety, whimsical, ear-bursting—they grace with inventive flows and catchy songwriting, an approach rounded out by crafting and dropping excellent music videos. In South Africa, Trap music is witnessing a creative renaissance amongst young artists and, as with almost everything Rap, this new vanguard is mostly male-dominated. Sauwcy and Badoo aren’t fazed, though. In an interview with ZkiphaniTV, both artists believe they are here to take up space and ensure that women are duly respected in South Africa’s “New Wave” Hip-Hop movement. It’s a noble aim, made more feasible by their sky-high potential as more people discover both artists and they continue to grow on both solo and duo terms.

Featured image credits/NATIVE


Written by Tami Makinde, Wale Oloworekende and Dennis Ade-Peter


FRESH MEAT: BEST NEW ARTISTS (MARCH 2021)