How much of a game changer is Scorpion Kings & Tresor’s ‘Rumble in the Jungle’

Posted on by The Native

In the summer of 2019, Kabza De Small and DJ Maphorisa profoundly affected South African music with the release of ‘Scorpion Kings’, the debut project named after the moniker they perform under as a duo. The project further skyrocketed Amapiano into unreserved popularity, serving as a definitive mainstream moment for the House subgenre that’s now become the toast of South African music, and is currently influencing every corner of the African continent.

The critical and commercial acclaim of ‘Scorpion Kings’ wasn’t a one-off, as Kabza and Maphorisa have remained driving forces in the upward momentum of Amapiano, releasing four subsequent albums within ten months, and assisting on a long list of huge songs. The pair took a break from its prolific schedule after dropping ‘Once Upon A Time in Lockdown’ in the early days of the Coronavirus pandemic, allowing for the release of Kabza’s epoch-making debut LP, ‘I Am the King of Amapiano: Sweet & Dust’.

During that time away, they crafted ‘Rumble in the Jungle’, the recently released collaborative album with Congolese-South African singer Tresor. Breaking away from the multi-artist format of their previous albums, ‘RITJ’ was primarily curated with the multiple time SAMA award winner as its main vocal attraction. Also unlike their previous projects, ‘RITJ’ was preceded by a protracted rollout comprising singles with music videos, several release date pushbacks, and a phenomenal cover art that features a 3-headed, golden sculpture of Memmon, the mythical Ethiopian king also believed to have been based on an Egyptian Pharaoh. (Maphorisa has stated on multiple occasions that the name Scorpion Kings was picked because it reminded them of the deserts in Egypt.)

Three weeks after its release, Wale Oloworekende and I (Dennis) are taking a loose and somewhat critical look at ‘Rumble in the Jungle’, the elements that make it tick and the context surrounding it. (You can also read Wale’s 1-listen review here.)

It’s been nearly two weeks since ‘Rumble in the Jungle’ dropped. How many times have you listened front-to-back, and what’s your impression of the album’s general quality?

Wale: I’ve listened front-to-back just twice, but I’ve been playing some songs from it over the night, just on a repetitive loop. For days, just the same song, because I’m just enamoured by certain pockets of sound on there. For quality, I think it’s damn near illegal how the Scorpion Kings are able to create these stunning bodies of works in a regular five-to-six month period, some crazy stuff. ‘Rumble in the Jungle’ feels like an attempt to control the narrative of Amapiano by making it more cross-continental, good on them.

Dennis: I had this album in my email a while before it dropped officially, and I can say for a fact that I rinsed it proper with that SoundCloud link. Part of it was because it was pushed back several times – I’m guessing because of the pandemic – so each time it got close to a new release date, I’d play the album like two to three times before finding out it wasn’t coming out on that schedule, then the cycle would play out again. Like you’ve probably guessed from me listening so many times, I rate ‘Rumble in the Jungle’ highly, so much so that it might be my favourite project from the Scorpion Kings. (‘Nostalgia’ remains my pick for Tresor’s best album yet.) Like you said, it’s crazy how Kabza and Phori turn out amazing projects at a crazy, prolific clip. To me, this Scorpion Kings run is 2014-15 Future-level epic.

Prior to this, the Scorpion Kings have dropped five projects. How does this album fit into the duo’s narrative as Amapiano pioneers?

Wale: No one is really making Amapiano music as prolifically as Kabza and Maphorisa right now, and like you said about it being comparable to Future’s insane run earlier from ‘Monster’ to ‘Evol’, I think they have gotten better with each body of work; maybe not always with their sonic choices but just how they seem to sequence the music and how they dovetail with each other. This album is, for me, just the next logical destination because 2020 was truly the year of Amapiano and, with the way Nigerians are getting on the wave, they needed a body of work that just borrowed elements from different places and I heard shades of that on songs like “Folasade” and “Mali Mali,” it’s a deft way to experiment with the form while still planting that flag that, yeah, we did pioneer Amapiano. It’s such a long way from ‘Scorpion Kings’.

Dennis: Yeah, this album is way, way different from their eponymous debut, but there’s precedent for how refined and experimental it is. Their second album, ‘Piano Hub’, zoned in more into the soulful side of Amapiano, and Kabza’s own phenomenal debut album takes several sonic risks to great results. I think both these examples laid the groundwork for this album, because it positioned both producers/DJs as auteurs willing to dig and explore beyond the party-dominant ethos of Amapiano. Usually, they’d collaborate with dozens of artists on a single project, but working with a single vocalist clearly challenged them to keep things refreshing, through subtle but palpable experimentation with sounds from across the continent. I think this album proves that they’re not overly relying on being pioneers, they’re evolving in real time, which is essential to staying relevant in a genre that turns out new stars by the minute.

What did you make of Tresor as the main vocal collaborator on ‘Rumble in the Jungle’?

Dennis: Absolutely stunning! Tresor has one of the most distinct voices in the world, it’s not wildly rangy but the range of emotions he can evoke with it is amazing. For me, the hallmark of a great singer is not necessarily how great your voice is, but what you do with it. Since I found out about Tresor with his sophomore album, ‘My Beautiful Madness’, I’ve been intrigued by his voice, because it’s kinda folksy on the surface, but it’s also a swiss army knife that can convey ecstasy, mournfulness, longing, pensiveness and many more emotions with near equal effectiveness. ‘RITJ’ benefits from this ability to switch moods, which I rate highly because I’m a big fan of Scorpion Kings albums being stuffed to the ear with a variety of different voices. Like the internet would say, Tresor understood the assignment as the main vocalist on this album.

Wale: I think, for me, going into this, I wasn’t sure what to expect. I’d be lying if I said I was familiar with Tresor’s catalogue, but I thought it interesting that the Scorpion Kings were willing to trust one vocalist over the stretch of one album; I’m more used to the different voices on their albums. But Tresor should just add “The Magnificent” to his stage name because that was such a breathtaking performance. As you said, it’s not the range of his voice, it’s the depth that he has that makes him a standout. There’s a stretch in the middle of “Soro” where the beat just gets straight out jaunty and Tresor’s voice just goes full-on ethereal, it’s so thin. I think I understood why he was trusted to carry so much weight. 

Dennis: There’s more where that vocal magic came from. Consider this as me putting you (and any other interested readers) on, Tresor’s albums are loaded with great vocal performances.

Wale: I’ve actually been checking out some of his stuff. He has a new album coming out soon, so that should be great. 

There seemed to be a calculated attempt at positioning this album as a momentous release for Amapiano, with the protracted rollout, and international distribution (PLATOON). Do you think its legacy will match this intent?

Wale: It’s hard to forecast legacy, seeing as we are physically removed from the project’s primary market. But just based on the strength of the music, I suppose so. There’s none of those standout party anthems but it’s so cohesive, so I think it will get everywhere people want to have a great time. I’ve already seen it get looks at different places, it would be interesting to see how much further it goes.  

Dennis: Yeah, I agree with the album not really having a standout party anthem, which really isn’t an Achilles heel because it’s such a strong statement as a body of work. As much as I know about Amapiano, being a genre for and by South African townships, there’s an emphasis on percussive knock when it comes to songs that become really huge. ‘RITJ’ has great percussion use and the songs will make it unto club sets, but I don’t really hear anything with the potential smash effect of, say, Focalistic’s “Ke Star”, JazziQ & Busta 929’s “VSOP”, or even “Lorch” and “eMcibini” by the Scorpion Kings. From a global crossover standpoint, I can hear songs like “Folasade” and “Angelina” doing well in Dance festival settings, hopefully Ibiza comes calling soon. From a pan-African perspective, the album could probably have also benefited from a few features, kind of like how Kabza brought in Wizkid, Burna Boy and Cassper Nyovest for “Sponono” (which I believe could’ve been bigger if the promo was a bit more aggressive). I get the pan-African ethos but I think those calibre of features would have driven it further home, especially for casual listeners across the continent who are already hearing adaptations of the sound from their local artists.

What’s your personal favourites on the album?

Dennis: My favourite part of this project is the three song run that includes “La Vie Est Belle”, “Folasade” and “Soro”. I think this part epitomises how ‘RITJ’ is well-rooted in Amapiano, and also adventurous in the way that shows how truly collaborative the album is. Across all three tracks, Tresor is in different vocal elements but it’s all sublime; “La Vie Est Belle” is vividly introspective, “Folasade” captures the scary excitement of falling for someone and laying all your cards on the table, while “Soro”, like you’ve already mentioned, is just loaded with ethereal beauty. Also, this part features some of the most lustrous piano chords in the Scorpion Kings cannon, and the breakdowns encapsulate why Amapiano is an apex Dance subgenre – it’s impossible to not be viscerally affected by them.

Wale: I keep hearing different songs off the album and my preferences keep changing. I love “Starry Night” because it has this echoey feeling that makes Tresor’s voice achingly beautiful. It’s also one of the songs where the shakers are literally at par with the rest of the instrumentation –  another mark of how experimental this album is — but the shakers just give me good vibes. Tresor doesn’t have to shout or contort his voice, it just spurts out and that’s what I love about the sub-genre: that sense of ease. Then the last song, “Love like a Weapon.” It’s just so potent. I love the percussion here, it has that knock-on effect you talked about. It’s so jolting in fact because I don’t understand how it’s an album closer. The urgency will literally have you shaking your head, the message is still not for me sha, say no to toxicity.

Listen to ‘Rumble in the Jungle’ here.

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

@dennisadepeter is a staff writer at the NATIVE

ICYMI: WHY NIGERIA CAN’T & SHOULDN’T BE AIMING TO ‘OWN’ AMAPIANO

Cloud X announces 2021 festival date; to be co-curated by NATIVE Sound System

Posted on by The Native

This time last year, the world had fully retreated into lockdowns to curb the spread of the first wave of the pandemic. In the coming months, the pandemic would affect all areas of life as we knew it leading to an uneventful summer marked by social distancing measures. Since then, thanks to the tireless work of scientists, several effective vaccines have now been created and are being distributed to immunise the bulk of the global population against Covid-19. Basically, it’s about time to go outside!

If you’re in the UK (or anywhere in the world even) and are still planning your summer itinerary, make sure to tick off August 8th on your calendar in anticipation of this year’s Cloud X Festival. Initially starting off as a gathering for a group of friends to grill food and listen to music in a South-East London parking lot, Cloud X festival has evolved over the years as a thriving, day-long event in London’s Studio 338. Similar to other large-scale, outdoor events, Cloud X festival was physically shuttered last year but its return is set to epitomise a summer where we should be able to dap each other freely, congregate for bacchanal reasons, and graze bodies with strangers without any fears.

 

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For this year’s edition, the organisers have partnered with NATIVE Sound System to curate another line-up of pioneering talent and special guests, a noteworthy collaboration that will embolden the festival’s commitment to celebrating community, creativity, and inclusion. Artists on the line-up will be announced at a later date, however, carrying over its reputation from the iconic Cookout series that featured Dave, AJ Tracey, Lancey Foux, Idris Elba, Miraa May, and more, this year’s Cloud X Festival will no doubt be a culturally progressive avenue to celebrate artists across the UK’s constantly innovative Hip-Hop/R&B scene.

In addition to the music, the festival will also feature hand-picked food vendors, including independently owned businesses serving mouth-watering cuisines from Guadeloupe, Ghana, and the Caribbean. From the great tunes to fried foods and great cocktails to keep things lit all day long, everything will be carefully curated to evoke nostalgic feelings of squad linkups. Whether you’re a festival veteran, a foodie or a first-timer who just loves London’s creative scene, Cloud X Festival will make you feel like you’re at the outdoor house party of your dreams! Don’t forget to save the date: August 8th.

You can get your tickets here.

BRUK IT DOWN: HOW TEMS MADE ‘FOR BROKEN EARS’ STANDOUT, “ICE T”

Davido, Zlatan & the thrill of adlibs in Nigerian music

Posted on by The Native

Were you really into Nigerian music in the late ‘00s if “Yes, Boss!” wasn’t a part of your lexicon? With the opening words of his smash single, “Kini Big Deal”, Naeto C instantly entered himself into pop culture lingo, through a phrase that served as an initial identifier of his presence and quickly morphed into everyday slang. Over subsequent years, Naeto constantly invoked the same phrase across his songs and on feature appearances, a small but important ritual during the supreme era his rap superstardom.

Without any exaggeration, “Yes, Boss!” is one of the most iconic adlibs to have graced Nigerian music, a tag Naeto used with liberty and to great effect—both as a familiar intro and as embellishments to his flossy raps (see: “Ako Mi Ti Poju”). Broadly speaking, an adlib is a catchphrase worked into a song based on the artist’s discretion. Usually, the songwriting process involves primary concerns like lyric writing and melody composition, however, layers of spontaneous vocals are stacked around the main body of the song while recording. It’s during this secondary stage that artists throw in corresponding harmonies, backing chants, adlibs and other elements deemed fit in making the song fuller and ready for public listening.

These days, adlibs have become a permanent fixture in global pop music, especially as hip-hop has become the epicentre of pop culture over the last three decades. It’s not that hip-hop pioneered the use of adlibs, but it is undeniably responsible in popularising its usage. In fact, adlibs can be traced all the way back to the spirit-filled hollering that accompanied the singing of worship songs in Black churches. For secular purposes, though, vocal scats in jazz music can be pointed to as a jump-off point, a lineage that can be traced to the visceral yelps of James Brown and several other artists in the heyday of Funk in the ‘60s and ‘70s.

With jazz and funk as important early threads in its sonic fabric, it makes sense that hip-hop not only adopted adlibs, but also evolved the range of its usage in music. While emphasis remains its priority, rap music has effectively expanded the way adlibs can be used in song, affording artists a myriad of imaginative ways to employ them. In the ‘90s, adlibs were mostly limited to “yeah”, “uhh” and other simple monosyllabic word and sounds. Over two decades later, coinciding with the American South taking control of Hip-Hop’s steering wheel, adlibs have become delightfully complex and constantly innovative. This phenomenon was bound to impact Nigerian music, considering its extensive relationship with American Rap music.

No external cultural phenomenon has had – and continues to have – a more profound effect on modern-day Nigerian pop music than hip-hop. In the mid to late ‘90s, considered as the foundation days of the latest, ongoing renaissance in Nigerian music, a significant portion of the music created within the country’s shores were vivid cosplays of rap hits, and those that weren’t, made no attempts to hide their fascination with, and the direct inspiration of, hip-hop’s musical and cultural ethos.

Over the next two decades, Nigerian pop music would consistently morph into an amorphous, boundless and multi-coloured organism, through constant sonic experimentation that places it in greater touch with older parochial musical styles such as highlife, fuji, varying styles of traditional folk and more, while sourcing out influences from around the continent and across the world. Notwithstanding, the bond with hip-hop has never been downplayed, as a cultural ally in the continued push for increased global visibility, and as a consistent stylistic influence. With this context in mind, it was only a matter of when, not if, Nigerian music would go on to co-opt Hip-Hop’s innovative adlib ethos.

The main narrative concerning the classic status Naeto C’s “Kini Big Deal” is the suave, refreshing edge it immediately brought into Nigerian music—both rap and in general. While that’s an irrefutable fact, the song’s instant impact didn’t happen in a vacuum. Around its 2007 release was the ringtone era, where Swag rap held the hip-hop terrain in a chokehold. With T.I, Lil Wayne, Kanye West, Jeezy and Soulja Boy—all important to the evolution of adlibs—amongst the most popular rap artists alive at the time, that period in rap was significantly defined by bold, chanted hooks and catchphrases, sometimes wordless, meant to stick in the listener’s head after a few listens. “Kini Big Deal” is not the definitive first example of adlib use in Nigerian music but, alongside Naeto’s long list of bangers, it coins on those elements it’s a memorable one to point at.

In the same way it grew into itself after initially importing hip-hop’s mannerisms, Nigerian music has evolved its own distinct sense of adlib usage, ensuring that it isn’t entirely beholden to its external inspiration. A big part of that comes from adlib use being increasingly rooted in present-day, parochial slang amongst Nigerians. Closing out 2017 as one of the hottest songs around, Mr Real’s smash hit, “Legbegbe”, was infamously based on an attempted theft incident involving actor Seun Egbegbe, who tried to pull off a heist of twelve iPhones in Lagos’ bustling Computer Village. The song itself is built on a simple call-and-response hook, where the repeated chants of “Legbegbe” could also qualify as adlibs.

As with everything in contemporary Nigerian pop music, it’s undeniable that street-bred music has been at the cutting edge of adlib usage, especially in the last few years. Before then, though, adlibs were very well in use, from Davido’s “Shekpe” (which he still uses till today), to the time when Wizkid used to yell “Yaga” at every given opportunity. However, what’s made adlibs in Nigerian music more pronounced and especially thrilling in the wake of Street Hop’s now-permanent mainstream presence, is its unrelenting inventiveness and the sprawling scope of its usage.

Last year, DJ Kaywise brought together Mayorkun, Naira Marley and Zlatan for “What Type Of Dance”, a street banger that would have been a bigger smash if not for the pandemic. The song found Mayorkun in his usual feature-killer bag, delivering snappy melodies and catchy lyrics, while Naira Marley turns in a typically intoxicating, raunchy verse, but there’s an argument for Zlatan’s boisterous involvement as the song’s wildcard element. All through “WTOD”, Zlatan’s penchant for throwing around adlibs with reckless abandon takes some precedent, as he growls, yells, moans, and repeats lyrics even in parts where he isn’t the primary vocalist. It’s the type of noise in a song that should be annoying, but once you hear it, it’s impossible to hear the song without the uncontrolled madness.

Generally speaking, it is impossible to discuss the recent innovativeness of adlibs in Nigerian music without mentioning Zlatan. In the years since breaking out with “Zanku (Legwork)” and the show-stealing verse on Chinko Ekun’s “Able God”, the rapper has been one of the best connoisseurs of both spontaneous and signature tags, including “Kapaichumarichupaco”, “Astalavi, give dem!” and “Ayiiii”. Besides the intensely introspective moment in his catalogue, Zlatan’s commitment to adlibs is clear and unwavering, often filling the spaces between his energetic rap delivery with as many personal tags and infectious sounds as possible.

Even with Beyoncé hitting the Zanku last summer, and the consistent roll of smash street hop songs that continues to dominate Nigerian music, there are still sceptics still sticking with the idea of a downwind in the fortune of the current wave of Street-bred music. The argument is that musical styles attached to dances can’t be anything more than fads, which has some merit from a historical standpoint. The current reality, though, is that street hop is constantly evolving while also sticking to its roots, by seeking out new musical sources to refresh the sound and letting street lingo influence its lyricism and adlib usage. Rexxie and Mohbad’s “KPK”, for example, is an Amapiano-inspired banger packed with slang already recognised by its primary audience: the Streets.

The same way it has drastically affected the sound of mainstream, Street Hop has directly contributed to the role of adlibs in Nigerian pop music. One of the catchiest and most recognisable adlibs in Nigerian music at the moment is Mayorkun’s playful intonation of “ge-ge”, an invocation of “This bread no be Agege”, a widely known slang popularised by the popstar. In a prosperous 2020, which saw him evolve into a more magnetic superstar via a few singles and show-stealing features, Mayorkun displayed a supreme grasp of the use of adlibs, whether it was in the embellishing low growls of the ultra-groovy, Grime-inspired “Geng”, or on the Amapiano cut “Of Lagos”, which primarily consisted of the self-aggrandising adlib, “of lay lay”.

On the Davido-headlining “The Best”, Mayorkun got Wande Coal to throw in a high-pitched adlib that instantly added flavour to an already impeccable verse. Like he declared on that song, he learnt from the best, Davido, and as singular as his adlib usage is, the DMW boss seems like a worthy inspiration. Over the very nearly decade-long run of his superstardom, Davido has made it a habit to fill every space in his songs, sometimes even throwing in onomatopoeias where lyrics are conventionally meant to be, as in his smash song “Dami Duro”.

Without a doubt, “Shekpe” is his most recognisable signature adlib till date, a tag he’s invoked even when he seems less boisterous than usual. These days, he’s experimenting with newer adlibs, like he recently did on his standout appearance on Focalistic’s “Ke Star (Remix)”. Opening the song, he chants “ko wole” (“it didn’t enter”), punctuating it with dismissive declarations of “nibo”, which translates into “where”. He then goes on to casually yell “Tule jare”, a phrase he popularised last December after rumours of a physical altercation with Burna Boy, in Ghana, surfaced online. Personally, the video of him yelling “Tule” into the camera seemed absurd—“why the noise”, I thought—but hearing it on “Ke Star (Remix)” was delightful, and I wouldn’t mind hearing it more often on wax, alongside recently popularised slangs like “E choke” and “who dey breathe”.

The truth is, adlibs make songs catchier and more memorable. While the potential widespread likeability of a song depends on several other factors, like the sonic makeup, the thematic writing, and melodic execution, but adlibs make songs fuller and can even end up being the song’s main draw. It’s impossible to think of Rema’s “Lady” without remembering “Achukuleke”, or imagine “Woman” without the energetic sections of seeming gibberish that the Mavin wunderkind explained as “Bini lamba”. No one can really know what every adlib is, but they’re provocative when done right, almost daring you to not break into dance or at least sing along, because forgetting them is simply not an option.

@dennisadepeter is a staff writer at the NATIVE

ICYMI: WHY NIGERIAN POP MUSIC LEFT THE STREETS

Fela’s iconic impact on stoner culture in Nigeria

Posted on by Damilola Animashaun

All over the world, the attitude towards stoner culture has slowly become more positive, following the increasing decriminalisation of marijuana, in addition to extensive scientific research showing medicinal benefits. This has seen the global market for medical marijuana grow exponentially with current estimates at $150 billion and could reach a further $272 billion in America alone by 2028, according to Barclays Bank.

Last year, Malawi joined other African countries such as Lesotho, South Africa and Zimbabwe to legalise the growing, selling and exporting of marijuana. Though this happened without much public uproar — to be fair, there were bigger concerns on everyone’s minds with the pandemic affecting every aspect of our lives — Malawi’s gross domestic product (GDP) grew from $25.16 billion in 2019 to $26.72 at the end of 2020.

Nigeria, on the other hand, has continued to treat cannabis as an illicit substance while treating those who partake like pariahs. Our general societal beliefs refuse to acknowledge the positive side of marijuana, including its role in influencing creativity in the music industry, which has served as one of our most lucrative exports over the past few years. In fact, one of our most celebrated  artists and perhaps our biggest musical export till date, Fela was often seen with a zoot in hand, and even though he was often censored for it, that hasn’t stopped him from impacting the world for decades after his tragic death.

 

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To be fair, smoking marijuana is only one of the many things that makes Fela a controversial figure, as he was known to notoriously marry 26 wives in one day and was arrested multiple times for openly criticising Nigeria’s bad leadership through his music. He was seen as a rebellious figure who had a lot of influence on the youth, and even though many people agreed with the revolutionary politics of his music, people who grew up in conservative and religious households as I did were discouraged from listening to this music so as not to be influenced into his habits.

While I can’t speak for others, I didn’t need to idolise Fela before I eventually discovered that smoking marijuana is a healthy coping mechanism to deal with my anxiety. The biggest challenge, as it turned out, is finding a place where it’s safe to procure some as the prejudice around it and the ‘illicit’ tag often means you have to endure shifty business transactions with people at risk of getting arrested by the police before getting your hands on cannabis. Since you can’t even report to the police if you get cheated, the only thing protecting your safety is the vibes.

However, The New Afrika Shrine built in Ikeja, Lagos in honour of Fela’s legacy has proven to be a safe heaven where smokers are welcome with open arms as everyone seems to follow a more kindred code motivated by a common love for Fela and what he represents.

As soon as you get out of your vehicle at the parking spot, you’re greeted by the smell of different strains of marijuana while sellers quickly introduce themselves with promises that they have the best strain one can think of.

“I get Loud, I get SK, I get Arizona, I get Marley kush, I get OG kush. Which one you want?”, asks Timi (not real name), one of the sellers I met at The New Afrika Shrine during my visit earlier this week. Although I had come specifically to figure out how much of an impact Fela has on the cannabis smoking culture in Nigeria, I picked the date to coincide with the when Femi Kuti and his band practise so I could experience the live show. Unfortunately, I was told that they have stopped the Thursday practises because of the pandemic. Regardless, there were a handful of people present after being cleared by the security with hand sanitisers and a reminder to keep their masks on.

Though the stage was sadly empty, the shrine was alive with people from different works of life, bonding while watching the game of football showing on a big TV screen or playing pool. Femi Kuti and his band were absent, but his music was playing from the speakers for everyone to hear. Nearly every corner has a stand that sells Fela’s merch while certain stores offer specific goods and services like the tattoo parlour, vape shop, bar, and barbecue stalls. Among the signboards of brands who sponsor the Felabration concert which happens annually (unless there’s a pandemic) is a sign that reads “Drugs Are Not Allowed In The Shrine”.

“Weed is not drug na. Weed is just like pure water here”, Kunle, a 30-year-old car dealer told me when I asked him about the sign while he puffed away at his joint. He took another puff before passing it to his female partner who was sitting next to him. “Myself and my babe (who doesn’t want to be named) come here at least once a week”, he continued. “I can come here every day if I have the chance because here, nobody will disturb you that you’re smoking and the music is very sweet.” The couple believes that their shared interest in Fela’s music and love for marijuana is one of the factors that has kept them together for nearly a year as they told me their favourite Fela song is “Water No Get Enemy”. “Fela just gets it.  His music always gives me the courage to be myself no matter what people say about me”, the unnamed lover told me. No doubt, courage is an essential quality needed if you’re going to be smoking marijuana in Nigeria while it’s still illegal.

Although there’s are several police stations in Ikeja, the capital of Lagos State, Tony (not real name), one of the marijuana sellers at Shrine says it’s not a problem. “What can they (the police) do? When they come here, we settle them. Some of them even buy from us. I think because we stay on our own, the police also leave us alone. Nobody gives us any problem here.” Fela’s legacy as a radical musician and unrepentant smoker appears to have given the dealers at The New Afrikan Shrine some sort of immunity from drug raids by the National Drug Law Enforcement Agency (NDLEA), but while he was alive, he wasn’t exactly on friendly terms with the law enforcement as he was often arrested and beaten while they claimed that he disrupts the peace. “This is what is feeding me and my family. What other job is there for us?” Toni asks.

He becomes immediately animated when I shift the conversation from how he earns his living to Fela’s music. “Listening to Fela makes me happy. My favourite songs are “Lady” and “Palava”. People who know Fela’s music know that he was a good man and it makes them know that it is not everyone that smokes that is bad or stupid.” A staff at the Shrine who was also reluctant to give her name told me that though she doesn’t smoke she doesn’t judge those who do. “Before I did not like people who smoke but now I don’t even notice who smokes and who doesn’t smoke.”

Ife and his friend, Mattew meet at the Shrine to play pool every evening. “It’s a very cool spot and you can meet all types of people here”, Ife told me. Though he doesn’t smoke, he enjoys the community. “I always look forward to meeting new people here. I heard Wizkid came here one day that I was supposed to be around but I missed it and I was very sad. All of us that you see laughing together met here and started as strangers. We didn’t have any judgement or assumptions about each other so it was easy to bond.”

Later into the night, the DJ started playing more mainstream music, especially from Naira Marley who is also known for glamorising smoking as Fela did. Just like his hero, he too has become known for his controversial takes and he famously altered lyrics from Fela’s 1978 hit song, “Shuffering and Shmiling” to fit into his polarising 2019 single, “Am I A Yahoo Boy”.

Fela fearlessly defied the Nigerian military government with his music while still managing to sound alluring with his unique Afrobeat sound. It’s no wonder that he is an inspiration to others who are currently rebelling against unfavourable government policies that criminalise marijuana despite its many positive uses. Though he died in 1997, his impact is sustained through his music and the ideals that now governs The New Afrika Shrine where weed smokers in Lagos Nigeria meet regularly.

Featured Image Credits: web/last.fm
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: NATIVE does a deep dive into Nigeria’s online gaming communities

Review: Teni The Entertainer’s ‘Wondaland’

Teni Makanaki lives in technicolour. Since registering on mainstream consciousness with songwriting credits on Davido’s 2017 coda, “Like Dat”, the singer has taken residence in a singular exploratory universe, merging colour and sounds to push the boundary of popular Nigerian music in a joyous, no-frills direction that she, more than anyone in the current climate, seems equipped to tap into effortlessly.

In the four years since “Like Dat”, Teni has morphed from supremely talented upstart to unavoidable pop fixture – as her astonishing run in 2018 proved – by making the sonic equivalent of resplendent hues that brighten gloomy, overcast days. Due to this, her songs live long in your memory. She is non-formulaic, and her personality is bubbly enough to lend further impetus to the pop offerings that endeared her to us. While these characteristics have no doubt strengthened her allure, the clincher has always been the fact that, at the core of her artistic essence, Teni remains a griot. A troubadour in the fashion of, say, famed style-bender, Beautiful Nubia or a 21st century scion of Fuji praise-singers like K1 De Ultimate and Wasiu Alabi Pasuma. A viral video of her singing a folk song on the day of her university graduation in 2018 became “Uyo Meyo”, a denouement on her breakout year, and a stunning back-and-forth with Zlatan on Rexxie’s 2019 single, “Foti Foyin”, further proved her free-form genius.

For all of her talent, left to her devices, Teni’s intuitive approach to music can hamper the overall  strength of her music, as proven by 2019’s debut EP, ‘Billionaire’, where she seemed fixated on conjuring the nostalgia of old gems like “Askamaya” and  “Case” at times, and at other points seeing her creative risks fall through. 2020’s ‘The Quarantine Playlist’, a slick collection of evocative and enchanting R&B-influenced cuts made in collaboration with DJ Neptune, showed an artist in evolution, who is willing to temper the bombast of her first act with more textured singing and writing. On “Lockdown”, over warm guitar riffs, Teni slows the pace of the song considerably to draw out her words and emotions in a way she has not revealed in previous showings. As she bounced between sets like this and deft showings on songs with other collaborators like LADIPOE, Bad Boy Timz, and K1 De Ultimate, it was always going to be interesting to watch the sonic advancement of the next stage of her career. 

The answer to that question presents itself on ‘WONDALAND’, Teni’s 17-track album that displays all the effortless talent and vocal flourishes that made her a star in the first place, as well as the experimentation and vision that will ensure she remains at the top of her game for a while yet. At differing points in the album, Teni examines affection, prayer, and lust, displaying a knack for imaginative constructions and innuendos that compensates for the album’s largely formulaic subject matters; when she does go beyond the scope of usual Afropop fodder, she delivers memorable pieces of music. Album opener, “MAJA”, is a reaffirmation of the determined streak that allowed her transition from being a university student in America to being one of Afropop’s brightest stars in less than 12 months. To staple this, it eventually segues into a prayer session featuring her aunt in their native Ondo dialect, a feature that is now par for the course on Nigerian pop albums but no less significant for Teni’s career trajectory.

Teni mostly carries ‘WONDALAND’ on her own, only joined on the album’s lead single, “FOR YOU” by Davido. The duo scoring another chart-topping pop anthem that seems to be the only currency that the DMW boss deals in these days. While most of her peers write strait-jacketed songs about love that assume its divine preordination, Teni has thrived in writing songs that examine the complexity of affection, sleuthing through its murkier waters for inspiration. On “FBI” , her knack for witty writing matches the emotional subject matter of having to win over a love interest. “Na me dey in charge, na me be the new commodore,” she squarely proclaims on the song for all to hear. Curiously, the song that directly follows “FBI” contradicts her message from there. After declaring that she has won her love interest’s heart, Teni wants to convince us that she’s only interested in a friend with benefits arrangement on “TOXIC”. In the song, she considers her emotional detachment quite honestly: “I get problem with commitment,” and reinforces it repeatedly for all to hear. Despite the thematic dissonance, it’s a fun, light-hearted ditty that represents the best of Teni’s insouciant approach to making music.

The non-linear pattern of her thoughts aside, Teni fleshes out the middle of ‘WONDALAND’ with humorous bops about sexuality that don’t excessively theorize or conform to typical power dynamics. Put in close proximity to each other on “INJURE ME”, the lines, “You just want to injure me with that thing/ Omo yi wa jegba,” show Teni’s comfort with discussing sex even if its nuances are slightly subverted. A slight change in her inflection gives “ON” a wonderful sheen that flips a song about attraction into a would-be emo-trap anthem that’s buoyed by its magnificent echoed sections. 

‘WONDALAND’ benefits from its revolving cast of producers as evinced by its mostly eclectic beat selection. The production is serviceable and encourages Teni to tunnel into different aspects of her personality but the connection between Teni and Pheelz provides some of the album’s strongest songs. “WERE”, is cut from the same cloth as “MAJA,” but instead of channelling her strong headedness for inner resolve, Teni crafts an outward-looking inspirational song inspired by elements of folk and gospel culture – while Pheelz’s featherlight percussion transfixes the scene into something nearly akin to a solo choir performance that gently coaxes Teni’s blithe voice to the surface.  On “WONDA WHY”, Pheelz is in inspired form, balancing Teni’s almost operatic delivery style with a muzzy bassline that embraces Teni’s pathos, showing a vision of transforming her off-the-cuff instincts into well-honed songs.

As much as the album contains spurts of enjoyable melodies and precise lyricism, at times, Teni lapses into old ways, maxing out her vocals on thematic dead-ends and casual freestyles that could have been better fine-tuned further before their release. “100 Meter” starts out with Tempoe and P.Priime’s hazed instrumentation and some assiduous rhythmicity from Teni but peters out near the middle of the number, while “Okocha” is a bouncy pseudo-tribute to one of Nigerian football’s most iconic figure that sees Teni fall-back on the tired, whimsical writing that beclouded segments of ‘Billionaire’.

Some of the biggest criticism that has dogged afropop albums is the casual detach between the creators’ life and the body of works they birth, presenting projects that are divorced from their realities and situated in a fantastical parallel universe that many can’t tap into. For much of her career, Teni has often found a way to navigate the existing reality that Nigeria remains bleak, by constructing her crowd-sized anthems with the people who are going through it in mind, using lurid lyricism that reminds one of places, emotions, and people they experience. Even with the bright lights of ‘WONDALAND’, she finds newer ways to strip the superstar veneer and remind us that, deep at heart, she is still just a person. One song, “HUSTLE”, a guitar-led slow burner, sees the singer give a gaze into the tunnel vision that is powering her career. “So if you see me outside and I no greet you, no vex, baba my head full o,” she sulkingly apologises, or rather explains as a function of a larger apology. Her grasp of these complex emotions sees her make a tribute to her slain father, General Simeon Apata, near the albums end on “DAD’S SONG” where she weaves a connective thread between his death in 1995 and her flourishing career more than 25 years later; fittingly, she is at her most assured here, emoting over Pheelz and Priime’s polyphonous production. 

Part of what has made Teni such an interesting personality is how she glides over the news cycle when it comes to her life, responding with humour or opacity when the narrative focuses on her. In 2018, when there was conversation about her weight and its role in her perception as a female popstar, she simply went about her business, continuing to make skits that created a plain of acceptance for her by herself and ignoring offensive comments. The stage of her debut album presented her with the opportunity to address the weight comments and instead of differing to full-on comedy, she approaches it with clarity on “XXXL”, opening the song with a faux-mocking line that name drops Tiwa Savage. Importantly, she moves on from that opening to make the song an oasis for her thought and comfort in her skin. “Plus sized and loving it/Ain’t nothing wrong with it,” she says, fully embracing herself. You can hear the emotion with which she belts about this, with the conviction of someone with lived experience and the strength of character to genuinely not be weighed down by it.

Clocking in at 49 minutes, ‘WONDALAND’ manages to map out a clear picture of Teni’s conviction and motifs with stunning clarity, as she luxuriates and quips over some of the most smartly engineered beats out of Nigeria this year. It is an album of moments: there are songs that remind of the dynamo that Teni remains, moments when she taps into her undoubtable potential to conjure instances of pure elation; there are also moments when we are confronted with the humanity of Teni, the human behind the artist.

On the cover of ‘WONDALAND’, Teni is seen in a colourful park that is presumably themed after the Disney Park in Orlando. It is supposed to set the pace for what should be fun-packed album, instead what we get is a project teeming with truths about Teni’s life and her artistry. She is fun, yes, but she is so many other things, often at the same time. 

Listen to ‘WONDALAND’ here.

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

ICYMI: READ TENI’S 2019 NATIVE COVER STORY

BEST NEW MUSIC SPECIAL: TENI DOCUMENTS HER UNBENDING CONFIDENCE ON DEBUT LP, ‘WONDALAND’

Best New Music: BOJ turns messy feelings into a catchy bop on “Emotions”

Posted on by The Native

BOJ’s longevity is a consequence of the variety of ways the baritone-voiced singer has continued to impact Afropop. “Paper”, a 2014 song by BOJ, was the first time the word “altê” contextually defined the scope of what would become one of the most significant cultural movements in recent memory. Over the last decade, BOJ has refined his style, becoming one of Nigeria’s premier hook specialists, whether it’s on headlining bangers like “Awolowo”, or featuring on seminal hits on like Show Dem Camp’s “Feel Alright”, or collaborating with Ajebutter22 on a long list of classic jams, including the ‘Make E No Cause Fight’ series.

Last year saw the release of ‘Pioneers’, the belated debut album by DRB, the influential trio BOJ is part of alongside TeeZee and Fresh L. Keeping up with his relentless work ethic, the singer put out a catchy single, “Abracadabra”, in the third quarter of 2020, inviting Davido and Mr. Eazi into the warm groove of his soundscape. “Emotions”, BOJ’s latest single is a deviation from the tone and texture of “Abracadabra”, forgoing the groovy feel of the latter for an ethereal sheen. One of the biggest strengths of BOJ has always been how he avoids stringent genre categorizations and even though he borrows elements of R&B for “Emotions”, the clarity of his thoughts and his signature baritone voice allow the song – an exploration of the toxic aspects of romantic attraction – sound incisive. 

“You’re fucking with my emotions”, BOJ sings in a repeated loop at the beginning of the song, cutting to the heart of the issue with urgency as Krizbeatz’s languid drum pattern sets the perfect tone for the singer to analyse the cause of his dissatisfaction on this track. For all the reflectiveness that this song contemplates, BOJ’s greatest weapon has always been his unique ability to craft euphonic pre-hooks and hooks that live on in the subconscious for hours after the song has played, and he does it with a layered flow here that substitutes “messing” and “fucking” with his emotion on the hook here. 

Crucially, Krizbeatz leaves sufficient half-spaces for BOJ to emote without a drum base, allowing the pull of his voice to function as a musical accessory. When he reels out a list of shortcomings on the part of his lover, it’s, however, hard to tell if he is taking any lessons or soul-searching to correct his faults. The rise of confessional, self-critiquing alt-pop over the last decade has given rise to a trove of unapologetic and self-absorbing songs and while BOJ doesn’t get as far as that here, it is a delicate balance between that devilish streak and the calming cadence of BOJ’s delivery. 

BOJ remains a true one-off in the Nigerian music ecosystem, capable of subsuming messy feelings and happy days into slickly engineered three-minute bits that have you singing along, and “Emotions” benefits from that unflappability. The whispered words that sputter out at the end of the track – “ when you leave, e go cause calamity” – would typically get a vocal flourish from another singer, but BOJ just goes in on it without any false airs, making it a reassuring close to his first single of 2021.

Watch the video for “Emotions” here.

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

BEST NEW MUSIC: TAY IWAR’S “PEAKING” IS A TALE OF ROMANTIC YEARNING 

TurnTable Top 50: Teni’s “For You” returns to No. 1

Posted on by The Native

After a brief break from its five-week streak at the No.1 spot on the weekly TurnTable Top 50 chart, Teni’s “For You” makes a comeback this week while bumping off Gyakie and Omah Lay’s “Forever (Remix)” for its sixth week at the top. This week, the song tallied 31.11 million radio airplay audience impressions (down 7.3%), 8.03 million TV airplay audience impressions (up 6.78%), and 1.04 million equivalent streams (down 11.11%). 

As a result, Teni’s “For You” with Davido becomes the first song to spend more than one stint at No. 1 on the chart – having spent 5 consecutive weeks between February 22 and March 22 at the summit of TurnTable Top 50 before making it six this week. Coming in at No. 2 is the undisputed “High Way” by DJ Kaywise & Phyno which has now spent nine consecutive weeks at this peak and also now holds the same record as Olamide’s “Infinity” featuring Omah Lay for longest weeks at No. 2 on the chart. 

Gyakie’s “Forever (Remix)” featuring Omah Lay is down to No. 3 on this week’s chart, having led the charge for two weeks straight. At No.4 is Dangbana Republik & Bella Shmurda’s “World” which tallied about 1.75 million equivalent streams and 15.64 million radio airplay audience impressions since its release. “World” is now Bella Shmurda’s fourth top 10 entry and his highest debut yet on the chart since its inception. Justin Bieber’s “Peaches” featuring Daniel Caesar & Giveon moves to No. 5 on the charts after spending the last week in the top 20. 

Justin Bieber is the first international artiste (non-Nigerian) to have two songs reach the top ten of the TurnTable Top 50 – “Loved By You” with Burna Boy peaked at No. 4. Also in the top ten, this week is Joeboy’s “Focus” at No.6, Ajebo Hustlers “Pronto” featuring Omah Lay at No. 7, Ice Prince’s “Kolo” featuring Oxlade at No.8 and Naira Marley and Busisiwa’s “Coming” at No.9. Rounding off the top 10 is Jae 5’s “Dimension” which features Skepta and Rema. Omah Lay’s “Godly” also drops out of the top ten for the first time since its debut at No. 3 on the chart dated November 30, 2020.

You can check the full rundown of this week’s chart here.

Featured image credits/michaelsopejohnson

ICYMI: A 1-Listen Review of Scorpion Kings & Tresor’s ‘Rumble in the Jungle’

A 1-listen Review of Scorpion Kings & Tresor’s ‘Rumble in the Jungle’

Posted on by The Native

In October 1974, American boxers, George Foreman and Muhammad Ali, stepped into a ring in Kinshasa, Zaire, now Congo, for a fight that was billed “The Rumble In The Jungle”. Both pugilists came into the fight with different circumstances and narratives swirling around them, but what was a foregone certainty, was that their match-up was going to be one of the finest sporting displays of the year and indeed, even the decade. More than matching expectations, The Rumble In The Jungle was a boxing masterclass, pitting Foreman’s exceptional power against Ali’s flamboyance and technical capability for a match that’s widely regarded as one of the finest sporting displays of the 20th century.

By fate or happenstance, 47 years after the original Rumble In The Jungle, two heavyweights have now come together for another Rumble In The Jungle birthed on the African continent, and has all the making of a true star turn and the potentiality for an era-defining showcase. Only this time, they are not boxing, Kabza Da Small and DJ Maphorisa are re-uniting one of Africa’s most prolific music duo for another run in the sun, ably accompanied by vocalist, Tresor.

As Amapiano took the continent by storm in 2020, the innovators have kept pace with the genre. Kabza’s 2020 sonic tour de force, the sweltering ‘I Am The King of Amapiano: Sweet and Dust’, established him as one of the sound’s biggest purveyors, and just six months prior, Kabza and DJ Maphorisa, collectively known as The Scorpion Kings, had dropped their fifth project, ‘Once Upon a Time In Lockdown’, tweaking the percussion and groove of the project to match the ambiance of lockdown.

One year later, they’ve returned with another project, ‘Rumble In The Jungle’, setting their focus on advancing the template they started building on two summers ago with the eponymous mainstream breakout project, ‘Scorpion Kings’. Two songs had previously dropped on ‘Rumble In The Jungle’ with Trssor’s vocals thrillingly seeking a chance to make a love-gone-wrong right on “Funu”, while the percussion-heavy “Folasade” sees Amapiano morph into a silky dance number. Now that the album has arrived in full, we’re digging into it to give it the one-listen review treatment. 

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

“Stimela”

There is no better way, for me, to open an album of significance than with whispered echoes. The way the song opens to Tresor’s voice after the brief percussive interlude speaks of the intention behind this album; and the tempo keeps rising. With many of the Nigerian offshoots of Amapiano music, there are wild beat flips and less emphasis on the piano chords that truly make the genre special but it’s delighting to see the beat for “Stimela” keep it simple and original and Tresor’s voice just has just the requisite amount of earthiness to make this a delightful opener. 

“Funu”

Something about pre-released songs often makes them sound better on the album, maybe it’s the familiarity. But “Funu” sounds loads better, Tresor’s croons are giving me life, there’s something about how he lets his voice become an extra instrument when he breaks into those tiny sing-alongs within the song. The drums are more prominent here and we might be looking at a natural evolution of the Scorpion King’s technique. ‘Rumble in the Jungle’ was billed as a pan-African effort and it’s so easy to see they drew influence from the folk music tradition of francophone west Africa, props to the team for making this work. This is nostalgia speaking, but this one is an instant standout.

“La Vie Est Belle”

The muted drumming that opens this just sends chills down my spine, there is a language barrier but you can feel the weight of emotions in Tresor’s voice, there’s so much soul on this record. The drumming is barely ascending or increasing in pace, but the track’s acuity is pointedly visible. This is definitely an elegy of some sort. One thing I love about the Scorpion King’s unconventional approach to music is how they allow the music to build, it rises and wells up, and you are in touch with every aspect of what is being done, that’s what “La Vie Est Belle” gives me. Will revisit. 

“Folasade”

Let there be no cap, this is a jam and a half. Everything just works here, the ponderous feel of the percussion, how it’s coated with glossy piano chords and the way Tresor’s accent makes his pronunciation of “Folasade” so prosaic. This is not so much a rumble in the jungle as it is a declaration of love in all its manifestation –  life, loss, death, and grief –  so far, but maybe that’s the point. The shakers make a cameo near the ending and that’s the perfect way to end a song that feels so ethereal. 

“Soro”

Once I heard those Bacardi grooves that opened this one, I knew it was deep house. Then there are the glittering pianos. It’s about to be a lituation. Oh man, Tresor is going elegiac again, it’s that damn choral voice again, he’s slowed down the pace and flipped the song on its head. 

WE ARE BACK UP. The beat switched again and we’re on the dancefloor. Amapiano is so limitless, the range is undefeated, but something about how Tresor keeps slipping between soundscapes feels like he’s one of only a few people in the universe who can go from a whispering room to being a bacchanal charmer. I’m still conflicted about this one. 

“Dust In The Wind” (feat. Boatenberg)

Another house number. I can hear the four on the floor pattern which is amazing considering this is a love song.  There’s just a tingling feeling that this one gives even when the dance feels becomes more pronounced. The way the beat switches up towards the end just confirms that this is the most experimental Scorpion Kings album yet. I’m not totally sold on it but I get the impulse to try and break new ground. 

“Angelina”

Now, they’re just showing off with the instrumentation that opens this track, it pulls you into different directions. There’s a bit of salsa here and some refined island melodies. There’s a slight pedantic ring that’s elevating “Angelina” as Tresor purrs his lyrics. No doubting this, a standout!

“Cherie” (feat. Tyler ICU)

One of the most noticeable things about this album is how delicately it mixes Amapiano’s carefreeness and the emotional weight of each song’s subject matter. “Cherie” is one of those moments when the balance feels tenuous in certain instances. Tresor’s clarity, however, grounds the track in the moment, and his work just deserves all the acclaim going to come to it off this album. 

“Mali Mali” (feat. Mas Musiq)

While the opening is a beat dragged, it gets better. There is a grand drumming section that just translates me to secondary school and the show-offy drumming by a couple of kids. This one is a tribute to beauty and the way the beat is clouded and billowy is so gorgeous. A deep album cut, but one that I’d be sure to revisit in my spare time. 

“Neriya”

What are those bounces? That’s a defiant way to open a song nine tracks into an album, so much confidence, so much élan. The kick is staying so it’s definitely a feel-good one, there’s so much flux on this album but the vocals are always a compass if you don’t get seduced by the beats. There’s a stretch within the song where there’s no singing and the Scorpion Kings are just flexing. What an interlude man. I respect this. Then there’s some techno just to top things off; yeah, I’m singing. Definitely revisiting. 

“Limbisa Nga”

This is one of the shortest songs on the album and I just want it to last longer. I connect with this because there’s something resembling acceptance in the air. It’s deep without being overbearing and that’s just such a great thing. 

“Malaika”

Afrobeats influence here. I can hear some of those loops that instantly take me to Nigeria –  in fact, there’s almost a parallel to how this beat and the one of “Sponono” sputter out. Tresor is mellow though and the drums are built around his singing. I like how this sounds so familiar and new all at the same time. Great track!

“Starry Night”

Some disco here and the lyrics are just irreverent. After all the emotional tour of the preceding tracks, this is a light-hearted penultimate track that seems like it’s teeming with electricity. The beat reflects that energy, it’s jaunty and carefree in a good way. I, too, want to play under a starry night. 

“Love Like A Weapon”

I like the title of this song but am definitely not a fan of what it proposes: toxicity. The music is great though, the lyrics are sharp and well-constructed. This feels like an experiment too because the drums just dominate what is happening on this song. I like how Tresor makes it seem like an evolutionary undoing, very thematic. That said, toxic love is still a big no, y’all enjoy though.

Final thoughts

I really wished there were more people brought along for the ride. For what was supposed to be a pan-African effort, there’s just a little originality and lived experiences from those regions on this project even if their influences reverb through the songs. What ‘Rumble In The Jungle’ did get right is the juxtaposition of the emotional with the carefree. There are stints within songs where Tresor is going on about life’s uncertainties and the beat literally guides him back to some fun.  The production is watertight and represents another feather in the cap for the Scorpion Kings.

Listen to ‘Rumble In The Jungle’ here.

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

AMAPIANO: THE GLOBAL SOUND OF THE SOUTH AFRICAN HOOD

Songs Of The Day: New music from Kida Kudz, Victony, Olayinka Ehi and more

Posted on by The Native

Music has served as the life force connecting people and communities around the world in these unprecedented times. Though the pandemic has denied us live shows and concerts, where the magical bond between artists and fans unfolds in real-time; artists have remained committed to sharing music with fans, so we continue to honour their art and create space and visibility for them.  Last year, The NATIVE created our ‘Songs Of The Day’ column as an avenue to curate some of the best and biggest songs from around the continent.

In the time since its creation, the column has served as a means to discover music from niche, rising acts, while also spotlighting releases from the biggest artists on the continent. As artists continue to share their music with us this year, it’s only right that we continue pointing you towards as much great music as we possibly can. After a week-long break, we’re back to putting you into new releases, with today’s curation including recent drops from Blaqbonez, Amaarae, Buju, Cheque, Fireboy DML, Kida Kudz, Victony, Tomi Thomas, Sute Iwar, Olayinka Ehi and more. Dig in and enjoy.

Kida Kudz – “Animalistic”

Kida Kudz is on a mission to shine a light on the atrocious ways that his people are treated within the prison system. His latest single “Animalistic” finds him exploring mass incarceration, its societal implications, and the harmful effects it has on prisoners and their families. “Can’t solve the pain wey we don face/Animalistic, I’m a beast from within” he quips in the songs opening moments, using his words as solace for all the lives that have been drastically changed by the prison system both home and away. The song’s accompanying video directed by iO Filmworks finds Kida performing in front of a burning yellow bus as he delivers his verse, with visible anger and irritation.

Blaqbonez – “Bling” featuring Amaarae and Buju

Blaqbonez is gearing up for the release of his latest project titled ‘Sex over Love’. After sharing the promotional sex-positive single “BBC” earlier this year, he’s quickly followed it up with a new release “Bling” which features Ghanaian pop princess Amaarae and Buju. “Bling” is a slinky uptempo number that finds the rapper flexing his singing chops, going into great detail about his exuberant living which has all the women swooning. “Everyday they telling me Bonjour/because the money sweet like Banku” he quips, clearly amused by how much money has changed his life. He’s also joined by Amaarae and Buju who make the song a pleasurable listening moment by adding their ethereal touch to the number.

Victony – “Broken”

After making the change from skilled wordsmith to heartthrob Afropop singer earlier this year, Victony has been showcasing more of his knack for vocal delivery and his stellar penmanship. His latest single “Broken” is a heartfelt number that finds the singer directly addressing a lover who has hurt him beyond measure. Over the soulful mid-tempo number, Victony sings “Girl I am so frozen and my lungs been frozen/I can barely breathe right now” using the imagery of ice and cold to represent just how much he’s been heartbroken by his crush. This is definitely one for the sad songs playlist.

Cheque & Fireboy DML – “History”

For their latest single, Cheque and Fireboy DML have linked up for a groovy uptempo number titled “History” which finds them taking a walk around memory lane. Decades after coming up together, the pair share the lessons and advice that they have picked up along the way. “Only thinking about victory, can’t fuck with anything that’s contradictory” Cheque sings over the song’s hook, telling listeners that it’s possible to make it in the world despite where they are coming from. As two artists at the forefront of the new vanguard of Afropop hitmakers, this collaboration is important for a number of reasons; we get to see two young artists at the brink of their breaking point collaborate with each other after years of coming up together in the industry.

BOJ – “Emotions”

BOJ’s latest single “Emotions” will certainly have you thinking about your significant other this weekend. Over the uptempo production by Spax, the singer showcases his strongest songwriting yet as he explores the complicated and sometimes toxic emotions felt during the course of a relationship. “Tell me baby why your heart is so insecure/You are messing with my emotions” he sings over the song’s hook, addressing a lover directly and informing her about the innumerable ways their relationship has disintegrated. In the song’s accompanying video, we see shots of BOJ and a love interest in a heated lover’s spat which inevitably ends in her setting his car aflame and ending his life.

Tomi Thomas – “Again”

For his first official single of the year, Tomi Thomas has just released the groovy-sounding romantic number titled “Again” which finds him singing about a muse who has him coming over again and again. Over the mid-tempo number which vibrates from percussive rhythms, he sings “Here we go right back once again/swear I love you like I love my best” on the song’s hook declaring his commitment for this woman who he’s aware is bad for him. At the song’s end, he promises that they can be frenemies and explore an intimate relationship once again.

Rexxie & Bella Shmurda – “Back2Back”

Rexxie and Bella Shmurda are a producer-artist pairing made in heaven and they know this all too well. For their latest single “Back2Back”, the pair celebrate their formidable workmanship which continues to spin hits for listeners to enjoy. “On a roll, giving it back2back” sings Bella Shmurda over the song’s hook, with lyrics tracking how he has risen from underdog status to Afropop hitmaker capable of buying all the bottles in the club and getting all the girls. It’s a hit by every metric and one that will surely get you dancing this weekend.

Jay10 – “SAFARI” featuring Zilla Oaks

Ibadan-based rapper, Jay10 has just released a new three-pack single titled ‘Dm2’, a succinct collection of singles which is a  follow up to the mini-EP ‘Deleted Memories’ he released last year. On the tape, the Zilla Oaks-assisted single “Safari” is an instant standout for its clever wordplay, quippy lines, and symbiotic braggadocio. “Welcome to the new jungle, we’ve got serpents in abundance/I run the game and still walk it/My mother told me be cautious” Jay10 raps over the song’s first verse, taking disses at the snakes and opps in his city who endlessly doubt him. Rather than let this deter him, he links up with Jay10 to trade verses about getting shit popping and ruminating on the source of their scars.

Olayinka Ehi – “Shake Remix” featuring Khadijat, Six & Sudxn

For her latest musical offering, Olayinka Ehi has updated her bouncy, uptempo single “Shake” with a befitting remix featuring an all-female cast including Khadijat, Six, and Sudxn. Over the song’s exuberant production, each artist performs their verse while talking their shit and packing on an onslaught of wordplay as they make the song instantly memorable from the jump. “Dedicated to the rhythm who no fit waste time/Girl you hot hot hot” sings Olayinka Ehi on the song as she’s joined by the other women who deliver rap verses which elevate the listening experience of the song. This is the bad bitch anthem we deserve!

Featured image credits/Instagram

ICYMI: The innovative significance of Nigerian producer tags

The innovative significance of Nigerian producer tags

Posted on by Dennis Ade Peter

The first time I listened to Rema’s “Bounce”, produced by Don Jazzy, I scrunched my face a bit at the opening adlib: “Na who do the beat? Jazzy!” I remember that moment because I still have the same reaction even after dozens of listens. Thinking about it now, my reaction wasn’t really a sign of disapproval, it was one born out of a sentimentality for nostalgia’s sake.

As an early to mid ‘90s kid, the bulk of my adolescence and early teen years was marked by the dominance of Mo’ Hits, the Don Jazzy-led crew that held Afropop in a chokehold at will every year. During that run, there was an ever-present adlib that will forever be immortal in Nigerian pop music: “It’s Don Jazzy again!”. Rema’s adlib at the beginning of “Bounce” isn’t entirely alien—Wande Coal used it on “Taboo”—but, to my old self, it didn’t feel emphatic enough to announce a towering, era-defining super-producer, albeit one who’d recalibrated his role in recent years, from helming hits to commissioning them as one of the most successful record label executives around.

From Jake Sollo to Laolu Akins, Nigerian music had witnessed a handful of popular, prolific and in-demand producers in previous decades, but it’s undeniable that Don Jazzy effectively transformed the idea of a super-producer by aptly blowing it up. Similar to another era-defining peer, OJB Jezreel (R.I.P), ‘00s Don Jazzy was a Svengali with an unrelenting repertoire of hit songs. At the same time, though, he was an intriguing personality, something like ‘90s Puff Daddy with an arcane charisma, which shot him up to a level of fame and reverence typically not associated with music producers.

 

By virtue of being far more conspicuous, artists are the most recognizable cog in the music-making wheel. On the opposite side, producers are largely incognito, and that anonymity tends to rob them of public admiration. Considering how heavily artists invest in being visually identifiable by the audience, the disparity in popularity is par for the course. At the same time, though, the attention imbalance doesn’t fully represent how indispensable producers are in the process of creating music these days.

Where Highlife, Juju, Afrobeat and other older genres of music that dominated Nigerian music in previous decades relied on live instrumentation, technological advancements in music production has significantly altered and expanded the role of a producer. With those older, aforementioned genres, artists often doubled as composers and they worked with live bands to execute their music, while producers generally oversaw the process and filed the rough edges. In the last two-plus decades, with the widespread adoption and use of Digital Audio Workstation (DAW) programs in Nigeria, producers function as composers of the music and, in the many cases where there are no live session players, the equivalent of a one-man band during music recording.

In his Issue 003 NATIVE cover story, Cruel Santino referred to producers as “guardian of the sound”. It’s not an exaggeration, seeing as producers have been heavily instrumental in ensuring that modern Nigerian Pop music has remained inventive, integral to inducing several sonic shifts and a musical landscape that’s become incredibly diverse. While playing a key role in the creation of music, only to play the B-role in terms of popularity is a tacit part of the job description, music producers have increasingly taken to the use of audio tags as a means of cornering some well-earned recognition for themselves.

In the late ‘90s and around the turn of the millennium, producer tags weren’t rampant, mainly because production credits were imprinted on the album/single jackets of physical CDs and cassette tapes. As music consumption has become primarily digital, though, it’s become slightly more complicated to find out producer information if it’s not plastered directly on the song’s artwork and/or within the song itself.

Earlier this year I was in a car with a few friends, and whoever had the aux cord spun Naira Marley’s “Koleyewon”, an undeniably slapper that’s inevitably become a big single. As it played, two people in the car started hailing Rexxie for the infectious bass-heavy beat, unknowingly giving credit to the wrong producer, even though Niphkeys—the actual producer—had his tag announced in the song’s opening seconds. In a way, tags are the aural equivalent of the bat signal, an attempt at forcing listeners to acknowledge the producer’s presence in an era defined by playlist shuffles, oversaturation in music releases, dwindling attention spans, and (still rampant in Nigeria) online music piracy.

All these factors have contributed in making producer tags a necessity of sorts, especially in a music space that keeps on expanding but is still figuring out how to properly appreciate those working behind the scenes. It’s difficult to specify the very first use of tags in modern Nigerian Pop music, but Don Jazzy’s signature line is iconic enough to deem as the jumping point for the popularity of producer tags. Where tags have evolved to become a way for producers to watermark their work, “IDJA” functioned more like a trademark statement, an organic inclusion worked in on a song-to-song basis by his collaboration. It was a sign of reverence, buoyed by the stick-wielding, Mafioso-inspired image of Mo’ Hits-era Don Jazzy, and in hindsight, an explicit form of quality assurance that a Don Jazzy-helmed single at the height of his prolific powers was destined for smash success.

Around the same time and shortly after, A-list producers of the time like K-Solo and ID Cabasa were increasingly incorporate tags into their work, helping to set the precedent for a practice that has become commonplace today. With a commitment to being identifiable through their work, especially as means to standout and remain relevant within a space teeming with established and rising producer, it doesn’t take much to figure out the central conceit behind the use of producer tags: Branding. By leaving a trail of credits that audiences and future collaborators can track, producers improve on their reputation and leverage previously released work into an increase in demand for their services.

It’s a common fact of the music industry that, no matter how talented a person is, visibility plays an important role in determining long term relevance. With the exception of the few producers that are instantly recognisable, a significant portion of Nigerian producers are physically incognito, which really isn’t the problem. The actual problem is being entirely anonymous, which is largely solvable with the use of tags. In the last few years, many producers have been able to imprint their names on listeners’ minds, employing unique tags as a form of representation. Without any set rules, a remarkable amount of tags have graced Nigerian music in the last decade-and-a-half, showcasing the variety and increasing innovation attached to the mundane act of producers owning their work.

A very common practice, is the pronunciation of the producer’s moniker somewhere on the song, often at the beginning or at the end of the song. An example that comes to mind is Spellz, one of the longest-serving producers around who has worked with everyone from Wizkid to Tiwa Savage. Although his single tag has been scattered around the some of the biggest and best Afropop songs this decade, Burna Boy’s elastic enunciation of his name—“spellzzz”—has yet to lose its lustre; it isn’t necessarily the most thrilling tag around but it is effective.

There’s a roll call of producers who follow this pattern of spelling out their name on record, albeit with some sauce. A couple of examples include: The sensual pronunciation of “Juls Baby”; Shizzi and Higo using a haunted, ethereal call out of their respective names; the half-sonorous, half-robotic ring of “Ikon”; the imposing, nominal shout Major Bangz graces his slew of hefty beats with; and the pronunciation of “Ozedikuz Nwanne” in a vocal tone distinctive to the Eastern part of Nigeria.

Switching it up a bit, other producers accompany the use of their name with a phrase that is unique to them. This approach, when it sticks, not only helps the producer’s reputation, it also gives them and their work some amount of personality. Young John designated himself “the wicked producer”, Sess owned the word “problem”, and Kel P attached his production work to party-starting vibes. In the case of a few other producers, their phrases also serve the additional purpose of being cinematic. It’s a shortlist that includes: Leriq’s iconic “It’s Leriq, call the paramedic”; Syn X’s “Syn X, do the math”; GMK’s “GMK ‘bout to make that dough”; and Genio’s “Genio, where you at, my nigga?”

While the inclusion of names is dominant, some producers totally eschew it, choosing instead to use single words, phrases and even onomatopoeias in representing themselves. Bonafide super-producer Sarz ditched his ubiquitous “Beats by Sarz” tag a while back, opting for a bulbous pronunciation of “riddim” to announce his presence in recent years. In a branding masterclass, every song on his incredible debut beat tape from 2019, ‘Sarz Is Not Your Mate‘, contains the word “Riddim”. In a similar vein, prominent producer, Killertunes emblazoned his 2018 banner year run of hit singles with an instantly recognizable tag, the boisterous shout of “Shabalistica”.

After the release of Burna Boy’s ‘Twice As Tall’, Telz emerged as a breakout producer, after his “Funkula” tag signalled his multiple song credits on the Grammy-winning album. Shortly after ‘TAT’ came out, Twitter was buzzing with jokes on how Telz’s tag bore similarities with “porn killer”, a playful fiasco that has inevitably made his tag one of the more recognisable ones in Nigerian music at the moment. This nameless branding route, however, isn’t limited to highly popular producers alone. Spax, frequent Show Dem Camp collaborator who’s also produced for Falz, Tekno, Yung L and more, watermarks his beats with a calm pronunciation of “Classic”, while veteran producer Kid Konnect is familiar amongst Nigerian hip-hop listeners for the snappy intonation of “Amazing”.

Aesthetically, not every tag will be wholly appealing to listeners—e.g. my reaction to Rema’s “Bounce”—and there are some people who still decry their use for cluttering songs. However, the primary priority of a tag is to give producers the ability to document their specific involvements, providing them with the agency to own their work from the shadows. This way, the guardians of the sound can get around the music industry’s knack for boxing out non-vocal artists from getting adequate credits for playing their parts in dictating what we listen to on our phones, hear on the radio, and dance to at parties.

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

ICYMI: WE SHOULD BE GIVING MORE PROPS TO SOUND ENGINEERS IN AFROPOP

TikTok signs multi-territory licensing deal with South African publishing rights organisations

Posted on by The Native

TikTok and music typically go hand in hand. In the past year, especially in the past year thanks to social isolation, the video platform has become an avenue for inducing hits through trends, music discovery, and revitalisation of older songs from the past. Over the last year, TikTok has signed global licensing deals with the Big 3 record labels—Universal, Warner and Sony—enabling users legal access to songs from these labels’ vast catalogues, while artists and label earn money from song usage and views.

Looking to expand this service to Africa, TikTok has now announced a multi-year licensing agreement with the Southern African Music Rights Organisation (SAMRO) and Composers, Authors and Publishers Association (CAPASSO). This deal will ensure talented songwriters, composers and music publishers represented by these organisations will receive royalty payments when their music is used on TikTok. Through CAPASSO’s existing partnerships, the agreement will cover 58 territories across the African continent, covering repertoire belonging to 21 separate collective management organisations.

“TikTok is delighted to enter into this agreement with SAMRO and CAPASSO, ensuring that songwriters, composers and publishers across Africa can benefit when their music is used on TikTok,” Head of Music Publishing, Licensing & Partnerships at TikTok, Jordan Lowy, said in the press statement. “This is an exciting region for us with a huge pool of incredible talent, and we look forward to connecting them with our global audience.”

Although the use of TikTok as an amplification platform for music is still relatively low across Africa, in comparison to the U.S., Europe and Asia, several songs have gone on to become trends and effectively increase their popularity amongst users. Master KG’s smash hit, “Jerusalema”, became a global TikTok hit following a choreographed dance routine Angolan dance group, Fenomenos do Semba, which then inspired thousands of challenge videos that have cumulatively garnered over a billion views. South African upstart Tyla used the short form video platform in promoting her glossy Amapiano breakout single, “Getting Late”.

“We are happy to have reached an agreement with TikTok in order to ensure that pan African songwriters are taken care of on the platform.”, Wiseman Ngubo, CAPASSO Chief Operations Officer stated. “TikTok allows fans to co-create, contextualise and re-interpret their favourite songs alongside their favourite artists and drives engagement and a deeper appreciation of songs in an era when music consumption is increasingly divorced from context. With the increasing spotlight on African music, more African songwriters are poised to reach global superstar status and TikTok will play a major role in showcasing their talents to the world.”

NATIVE EXCLUSIVE: GET TO KNOW TYLA, SOUTH AFRICA’S LATEST STARLET

7 Takeaways from Don Jazzy’s revealing interview on Bounce Radio’s Black Box Interview series

Posted on by The Native

 In the pantheon of Afropop production, few –  if any –  producers come close to Don Jazzy. Certainly, no one person boasts the mix of longevity, allure, critical acclaim, overall creative influence, and the well-stacked catalogue full of culture-defining moments that Micheal Ajereh possesses. Since stepping back on Nigerian soil in 2004, the music polymath has ploughed hard at creating an enabling environment for popular Nigerian music to thrive while simultaneously co-creating the music that soundtracked the upbringing of at least one generation of Nigerian kids. 

Strangely, despite being attuned to the pulse of his music and the familiarity of his production, not many of his audience can claim to know Don Jazzy in the proprietorial fashion fans claim to know music superstars. For the longest time, it was near impossible to get a read on the man whose fingerprints are all over some of the body of works –  Curriculum Vitae, The Entertainer & Mushin 2 Mo’ Hits – that have shaped contemporary Nigerian music, and global pop by extension.

In the early days, that mysterious air was engendered by the telekinetic nature of his relationship with erstwhile creative and business partner, D’Banj, as well as his curated public persona and the impressive composure he displayed when he did wander into the public’s eye. The rise in popularity of social media and a loosening of that guardedness has, over the years, opened up Don Jazzy to the generation that grew up adoring his music. Still, it has not been hard to clock that for all the access social media gave, fans could only see Don Jazzy through a smoky mirror and that the Don was happy to recede to the shadows when it suited him. 

On April 1, online radio, Bounce, premiered the first part of an extensive conversation with Don Jazzy, as part of its Black Box Interview series hosted by Ebuka Obi-Uchendu. That opening part touched on Jazzy’s upbringing, his origin story, and the circumstances that set him on the road to becoming one of the most successful Nigerian music entrepreneurs of the 21st century. Days later, the second, concluding part was also released, and together those conversations represent some of the most insightful and contextual information on Don Jazzy. After listening, we have selected a couple of points from the interview that we find exciting.

Classmate with OC Ukeje

Despite the popular conception that Don Jazzy grew up in Ajegunle, some of the most lucid moments of his life were spent in Egbeda and the Don attended the Federal Government College at Ijanikin where he was a classmate with Nollywood actor, OC Ukeje. The duo were also best friends and part of a musical group called the Ministration Voices before Don Jazzy broke off to form another musical alliance with stronger and more popular school colleagues. At a point, around SSS 2, Don Jazzy started failing in school work on purpose and that led to him not making the requisite grades to apply for university admission after secondary school. After leaving secondary school, he went to Lagos City Computer College and moved to Ambrose Alli University, Ekpoma to study Business Administration. 

Moving to London

When academics at Ambrose Alli University wasn’t working, Don Jazzy moved to London on the invitation of his uncle to seek alternate academic options and while there he worked as an office clerk, security guard, and music instrumentalist. He typically charged between £150 and £200 pounds per service to play at churches around London.

He met Soji Solek while playing for another musician,  Jide Chord, and they formed a band called Solek crew with one other person called Micheal. Solek taught Don Jazzy how to program beats on keyboards and they played at restaurants and events like weddings. The band performed a medley of juju, R&B, and hip-hop songs and were making constant money, getting up to £500 at minimum per person from each show at the peak of their music venture. Over time, Soji wanted to form his own band and the Solek crew came to an end because Don Jazzy didn’t take the news well. That led to him meeting with JJC.

JJC

While he was in the Solek crew, Kas (of “Fimile” and “Wine 4 Me” fame) found Don Jazzy and was impressed with his skill level. He wanted Don Jazzy to produce for him and that was the first time Don Jazzy intently heard about the technicalities of production, as he only made his beats on computers. The first beat he made for Kas was made on a keyboard and Kas took the keyboard to a studio to strip the beat and record over it.

That continued for a while until they met with JJC. The first time JJC heard a Don Jazzy beat was at a Nigerian wedding where Kas was DJ-ing at. At the time, JJC was looking for a producer and told Kas to come to his studio with Jazzy. That meeting was the first time Don Jazzy made a beat with a computer, but it wasn’t a great beat and he left JJC’s. Two weeks later, he returned and kept practicing and within two days he had gotten the hang of it. At that time, he contributed to a soundtrack for a Scooby Doo movie. For close to a year, he worked extensively with JJC but when a contract was presented to codify their relationship, it didn’t reflect what Don Jazzy thought was a partnership and that led to him leaving the JJC and 419 squad group.

Mo’Hits

After picking a name for Mo’Hits and returning to Nigeria, what followed was an intense period of Don Jazzy’s life where he had to balance creating music with worrying about the financial implication of pursuing music. At a point in the early years, Mo’Hits was almost sold to Storm Records for about N1 million but the deal never happened. Shortly after, D’Banj got his first endorsement deal for about N20 million from Power Fist.

One of the most intriguing details about Don Jazzy in the earliest years was his mysticism and he said that came about from a conversation with DJ Tee and a conscious decision to allow D’banj be the face of the label.  As the label expanded, they signed more artists like K Switch and D’Prince who had been with them since the beginning, Dr Sid was a close friend of D’Banj’s, so it was a natural evolution to him being on the label.

Mo’Hits fallout

The relationship between Don Jazzy and D’banj started to falter before the G.O.O.D. Music deal happened because of a build-up of some unresolved issues that Don Jazzy didn’t touch on. They went ahead with the  G.O.O.D. Music deal because they felt it was a great opportunity and that their relationship would survive the fallout of the deal. In Don Jazzy’s words, the deal elongated the inevitable.

During the interview, he clarified comments D’Banj made about him being scared of the G.O.O.D. Music deal and said he was calculative and saw that the market was not ready for Nigerian music at the time. Don Jazzy had created an initial beat for “Lift Off”, a song on Jay-Z and Kanye West’s joint album, Watch The Throne, which was stripped off and refurbished, so he figured the market wasn’t ready and he couldn’t abandon the business and artists he had in Nigeria like Wande Coal and Dr. Sid. 

Don Jazzy was signed to G.O.O.D Music as a producer for a deal that was supposed to last five years and after he saw the climate, he returned to Nigeria and ghosted them till the five years ran up. 

Mavin/ Post-Mo’Hits

After Mo’Hits broke up, Don Jazzy avoided making music for a while because he was scared that the music he’d make would not live up to the standard of the Mo’Hits era. He was rushed into making the Mavin announcement because there was an imminent media leak about the label and he wanted to get in front of that. The label’s debut compilation project, Solar Plexus, was recorded and ready to go with the news of Mavin’s formation.

A few years after the label was announced, Wande Coal left and it’s a move Don Jazzy blamed on Wande having people in his ears and telling him things. The nadir of their relationship came when Don Jazzy called out Wande for re-recording a song they had originally made together and it is something he says he regrets doing. After they broke up, Don Jazzy kept reaching out and told him there was a place for him at Mavin.

Regrets

While Don Jazzy does not necessarily have regrets, he wished he had signed a number of artists, one of whom was Falz. There was an opportunity to sign Falz, but he already had an existent label structure that would not have fit in with the overall superstructure of Mavin Records, so that deal never happened. With Simi, Don Jazzy did a Twitter competition, Journey of a Thousand Miles, for a D’Prince and Wande Coal record. Simi participated in the competition, she didn’t win but she was high up there and he wished he’d signed her. The last person he really wished he signed was Teni, she was a student in Atlanta at the time and he didn’t have the option to work closely with her and get her signed.  Don Jazzy never really wanted to sign Davido but he knew he was going to be huge. 

One thing he does wholly regret is the Olamide incident at The Headies because he understands the passion of where Olamide was coming from, but he was upset at the thought that people felt he paid for awards. Don Jazzy explained that had his award not been called right after the Olamide outburst he’d have been able to control his reaction. They did meet up the next day and buried the hatchet.

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

ICYMI: DIPLO RECALLS AWKWARD ENCOUNTER WITH DON JAZZY AT A RECORDING SESSION WITH KANYE WEST

TurnTable Top 50: Gyakie & Omah Lay’s “Forever (Remix)” continues at No. 1

Posted on by The Native

For the second week in a row, and as expected, Gyakie and Omah Lay’s “Forever (Remix)” sits atop the TurnTable Top 50 charts. A subsequent week at the pole position was a sure bet, following the release of its bright music video. While its 1.62million equivalent streams was an 11% dip in streams from the previous week, the Ghanaian singer’s smash hit increased radio airplay impression (3.5%) and TV airplay impression (45.4%).

With three total entries in the top ten this week, Omah Lay continues to dominate the Top 50, even acting as a stimulus pack for other artists. He currently holds the records for most weeks at the top two spots, “Godly” famously spent eleven weeks at No. 1, while the Olamide-headlined “Infinity” spent nine non-consecutive weeks at No. 2. This week, “Godly” enters the chart at No. 9, over three months after hitting the top spot, while his other entry this week is via his feature on Ajebo Hustler’s “Pronto”, which is at No. 5 for the second straight week after previously peaking at No.3.

Naira Marley’s “Coming”, the uber-erotic new single in collaboration with South African singer Busiswa, is this week’s new entry into the top ten, ascending seventeen spots to its new No. 4 peak position, matching the same peak spot as Naira’s previous top ten entry, “Koleyewon”. Rexxie and Mohbad’s “Ko Por Ke (KPK)” bounces back to the top ten (No. 10), weeks after initially bowing out of the chart. The rest of the top ten remains intact, albeit with position changes. DJ Kaywise and Phyno’s “High Way” moves back to its peak No. 2 position for the eighth non-consecutive week, Teni and Davido’s “For You” slides one spot to No. 3, Justin Bieber and Burna Boy’s “Loved By You” retreats three places to No. 7 but remains the No. 1 song on radio, while Joeboy’s “Focus” enters this week at a new No. 6 peak position, and Bella Shmurda’s “Rush” is at No. 8.

Outside the top ten, Chike and Simi’s “Running (To You)” reaches a new high at No. 11, Jae5’s “Dimension”, with Rema and Skepta, is at No. 14, Vector and M.I Abaga’s feud-squashing “Crown of Clay”, featuring Pheelz, becomes the first top twenty entry for all three artists involved, coming in at No. 19. You can check the full rundown of this week’s chart here.

BEST NEW MUSIC: KARUN & HIGO’S “HERE WITH ME” IS A GLOSSY POP-SOUL EXHIBITION

Best New Music: Tay Iwar’s “Peaking” is a tale of romantic yearning

Posted on by Tami Makinde

Since his debut on the scene back in 2014, Abuja’s Tay Iwar has operated as one of Afropop’s most enigmatic characters. Save for the raw emotion that drives his releases and gives listeners a rounder view into his world, the reclusive artist is largely out of the public eye, choosing only to release music on his own terms and fading back into his solitude when that is over.

The best part about a long period of silence from the singer is the reassurance that he’s going to emerge delivering songs that will linger long after they are released, thanks to his irresistible vocal abilities. Although Tay Iwar’s vocals was one of the momentous inclusions of Wizkid’s magnum opus, ‘Made in Lagos’, the last official solo release from the singer was back in 2019 when he shared his debut album ‘Gemini’, a collection of love songs that hones the singer’s sonic reach and his collaborative project titled ‘Gold’ with producer Le Mav.

Two years since then, the singer now shares his latest single titled “Peaking”, the first promotional single from his forthcoming sophomore EP ‘Love and Isolation’ which is said to feature Nigerian singer, Asa.

 

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A post shared by Tay Iwar (@tayiwar)

Over the past few years, Tay Iwar has spent his time forging a sound he calls “Afro-fusion”, an intoxicating blend of catchy and romantic Afrobeats and R&B, skillfully crafted with meaningful lyrics that find him recounting familiar memories for anyone ever been entangled with unrequited lovers. His latest release “Peaking” is no different in this regard, the song’s piano-led beat creates the perfect backdrop for the singer to showcase the depth of his vocal abilities while sounding off familiar lyrics about a romantic interest that he can’t quit yearning for during his periods of isolation.

“I just wanna see ya/I’ve been sipping, overthinking/Stuck inside my house and I just wanna see ya” he sings in the opening moments, declaring his unshakeable feelings for this muse who he can’t seem to get off his mind as she has him up late at night, mulling over their next fated encounter. Tay Iwar delivers a lived-in approach to portraying romantic relationships, banking on the reliability aspect in his songwriting to endear the song further to listeners who may also be contemplating the course of their own sour romantic encounters while inebriated late into the quarantine nights. It’s the universality of his lyrics and the conviction in which they are delivered that turns muddled emotions into the stuff of singalong choruses.

“Peaking” pulls together delectable piano strings and Tay’s distinct otherworldly voice which blend seamlessly as the song continues to build. When he declares “Baby I’m a fool for ya, I don’t wanna be without you”, it’s hard not to draw parallels with the romantic muse on “Monica”, a standout from 2019’s ‘Gemini’ that found the singer recounting his experience with a toxic lover gunning for his demise. Tay never shies away from grand emotions or grand displays of his affection, his music shows a willingness to learn from as many lovers as he possibly could, enjoying their company for the moment and drifting away when it no longer aligns with him.

But with this particular muse, he finds himself yearning every step of the way. Tay Iwar doesn’t conclude whether it’s the liquor that’s got him longing for her love or it’s the long nights in isolation that he lay awake thinking of her, or whether it’s a combination of both factors that surmise his present feelings. Whatever the case may be, the destination seems to remain the same–with Tay completely enamoured by his lover.

Listeners move as lyrics are repeated to build towards a deeper narrative and though he claims at a point that “You see me, Imma act brand new”, the song ends with a final look in the rearview as Tay melodiously quips “I followed my heart and it led right next to you”. It’s clear that no matter how much he wishes to pull apart or drown his feelings in liquor, he seems to operate with the idea that he will remain steadfast in his affection for his lover. “Peaking” is a first glimpse into the sonic world surrounding the singer’s upcoming project release, one that seems intent on continuing in his line of romantic love tropes.

Stream “Peaking” below.

Featured image credits/AlmassBadat

ICYMI: The best 5 songs from Tay Iwar’s debut album ‘Gemini’

Jameson & Mainland Block Party recast old music in a new light with ‘Confluence Project’

Posted on by The Native

At every moment, Nigerian pop music is in conversation, both with multiple facets of itself and outside influences. When highlife made its way to the country’s shores in the ‘50s and early ‘60s from neighbouring Ghana, legendary Nigerian musicians of the time such as Osita Osadebe, Oliver De Coque, Bobby Benson, Victor Olaiya and more ensured that the genre became recognisable by fusing it with traditional Folk sounds close to them. Fuji music evolved from Were, a way of using music as call for Islamic prayers, while Juju applied a variety of modern pop styles and instrumentation, as well as elements of Christian music, to its vivid Yoruba folk roots.

This collective flair for building on a combination of familiar, pre-existing sonic styles and a wide, disparate range of musical inspiration has ensured that Nigerian music is an identifiable, multitudinous, and ever-evolving organism. For the current wave of Nigerian pop music, which has been tracked back to the mid to late ‘90s by consensus, main initial influences were Hip-Hop, R&B, turn-of-the-millennium Pop and progression in electronic production practices. Over time, though, we’ve widened our sonic vocabulary to include Caribbean pop music, while also doing a full circle to incorporate older, popular sounds, from Juju and Afrobeat to Highlife and Fuji.

October 1st, 2020 marked 60 years of Nigeria’s independence from British colonial rule. While the country’s socioeconomic conditions have largely wavered and worsened in those six decades, Nigerian music has constantly fought through rough patches and strained investments to become an overwhelmingly bright spot. In celebration of its rejuvenated triumph in the past two-plus decades and steady incline as a global export, Jameson in collaboration with Mainland Block Party curated ‘Confluence’, a short playlist project comprising merger songs, where artists combine previously released music into something new and striking.

On paper, it seems like the straightforward idea, something that could be done via a DJ mashup or, perhaps, through an Alternate Sound faux-live mix. The thrill of ‘Confluence’ is that it bypasses any easy methods and opts to put these artists in a booth with a producer not involved with the already released songs, giving them the wherewithal to forge chemistry and create unique music from songs that many already know and love. This approach requires dedication, not just from the artists, but from the curators as well, and with the impact it’s had in the Nigerian music space over the last few years, it’s not too surprising that Jameson and Mainland Block Party have gone this meticulous route.

Initially making its mark on the then burgeoning alté scene, Jameson was one of the first brands to fully identify with a movement that still divides opinions amongst Nigerian audiences, even though to a far lesser extent these days. Currently, Jameson has expanded its cultural imprint, growing into a mainstay at nearly every outdoor event, sponsoring shows, and directly investing in artists—to the latter point, the stunning music video for Tems’ breakout smash, “Try Me”, was funded by Jameson. ‘Confluence’ is their latest indication of being in tune with Nigerian music, paying homage to Nigerian music on a present, molecular level, whilst also creating an avenue in the set structure for the betterment of the industry as a whole.

Before the coronavirus pandemic hit, Mainland Block Party was primarily a monthly gathering of young people looking to engage with Nigerian music through the most basic and visceral means possible: dance and rowdy live performances. Organisers also put up a similar forthnightly event in Abuja, tagged Capital Block Party, and they hosted a sole instalment of the Island Block Party in December 2019. With very limited opportunities to throw parties, Mainland Block Party is diversifying its portfolio, recently backing the rise of singer/rapper Victony, and helping in the curation and promotion of this multi-act EP.

‘Confluence’ comprises seven songs combining a duo of artists and their songs at a time, with four slightly unorthodox pairings. The combinations are Naeto C and Joeboy, Ladipoe and Terry Apala, Buju and Alpha P, BOJ and Fave. Perhaps with the exception of the latter pairing, these collaborations aren’t exactly the sort you’d find on the wish list of many fans of Nigerian music, for varying reasons: Naeto and Joeboy are from two different eras, with the former being quite inactive, new music-wise, in recent times; Ladipoe and Terry Apala are cut from “opposite” sides of the Nigerian hip-hop spectrum, and as such aren’t expected to mingle; Buju and Alpha P are both charting their way to superstardom, but their sounds are disparate enough that the thought of a collab seems quite left field.

Regardless, half the fun of ‘Confluence’ is in finding out how well it mostly slaps. The other half, if you’re a compulsive music judge like me, is in figuring out what makes these meshing of songs tick. At its most compelling, the project finds an intersection between experimentation and looseness, relying on craft, mutual respect, and a palpable camaraderie from all involved parties. One of the stronger examples on the project is the merger of Ladipoe’s “Man Already” and Terry Apala’s “Champagne Shower”, a truly thrilling combo based on how well both artists bounce off each other at every moment.

Produced by Sess, whose affinity for reimagining already existing songs is well-known via his PRBLM remixes, the combination of a gleefully ominous piano strings and a rattling low end splits the difference between the drill make-up of “Man Already” and the trap stylings of “Champagne Shower”. Together, Poe and Terry find a delightfully oddball harmony, with the former’s boisterous slickness and the latter’s unorthodox rasp meshing into a track that sounds like an improvised live performance. Generally, ‘Confluence’ has a low-stakes, novelty coat wrapped around it, but this particular performance comes across as momentous, partly because both these songs can be considered modern Nigerian rap classics and the rejig works so well it brings their critical acclaim into a refreshing perspective, rather than sullying it.

The two pair off again for a merger of Terry’s “Jangolova” and Poe’s “Are you Down”, and they balance each other with the same improvised verve; it’s not as singularly significant as the other collab, but it’s quite entertaining. As excellent as Terry and Poe’s complementary shtick is, it’s one of the few tricks that makes the EP enjoyable. In the case of BOJ and Fave, they don’t just complement, they combine. Both singers carry distinct voices which have distinct effects, BOJ’s fuzzy baritone floats upwards while Fave’s guttural mezzo booms like it’s trying shake the very foundation of a room. Both artist’s innate understanding of theirs and their partner’s powers is the driving force, and they become so in tune it’s like watching two people finish off each other’s sentences.

The final song on ‘Confluence’ pairs Fave’s breakout song, “N.B.U”, with “Tungba”, a standout selection off BOJ’s joint tape with Ajebutter22. Over Sess’s thunderous, electronic beat, both singers put these songs in conversation, integrating the impassioned swing of Fave’s verses and BOJ’s dreamy hook into an electrifying whole. Their other collab combines BOJ’s “Your Love (Mogbe)” with a Fave song I couldn’t quite recognise (perhaps unreleased), and they adopt the same conversational approach except, this time, they go back-and-forth in a manner that mirrors a discussion between two people on the cusp of a romantic commitment.

From Ladipoe and Terry Apala to Fave and BOJ, ‘Confluence’ largely sidesteps puppeteering or any ventriloquist gestures, and while the results are generally remarkable, it doesn’t always hit the high mark set by its best moment. In the context of the project, the merger of Buju’s “Mind Games” and Alpha P’s “Paloma” is something of a serviceable interlude, but as a proper song, it’s basically a mashup where both songs collide rather combine into a whole track.

For Naeto C and Joeboy, their collabs are a tad stiff and it holds their tracks from taking off properly. Adey’s tropical house beat puts a neon glow on the combination of “Baby” and “5&6”, and while it’s pleasant to hear Joeboy play around with the hook of the latter song, it’s Naeto who trails behind a bit. The combo of Joeboy’s “Faaji” and Naeto’s “Tony Montana” proves marginally better, mainly because both artists sound much comfortable over the stomping groove of Adey’s synth-pop production choice.

Even with its less enthralling moments, ‘Confluence’ impressively achieves its evident aim of combining artists in innovative ways, and Jameson’s implied intention of appreciating Nigerian music as the one thing every Nigerian be unreservedly proud of. For its own good, the project doesn’t masquerade as a broad representation, but it’s a strong representation that Nigerian pop music, specifically from the last decade-plus, is always in conversation with itself, and where there’s conversations the possibilities were always bound to be infinite.

Listen to ‘Confluence’ here.

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

FRESH MEAT: DIVE INTO OUR WOMEN’S HISTORY MONTH SPECIAL FOR MARCH 2021

Here’s a list of Nollywood titles coming to Netflix in April 2021

Posted on by The Native

Over the past few years, Netflix has committed to expanding their arsenal with something for everyone, including Africans all over the world with the acquiring of several films from the continent. In addition to commissioning new, upcoming projects, including impending adaptations of literary classics by Wole Soyinka and Lola Shoneyin, the on-demand streaming platform licenses new Nollywood titles at a frequent rate. Nearly every week, previously released films and, to a lesser extent, TV shows are made available to home-based and international viewers, opening these titles to potentially millions more.

Over the last few days, the comedy film ‘Three Thieves’, and ‘Marked’, a documentary on traditional facial marks, are the notable Nollywood titles to make it to Netflix. Keeping with the momentum, the streaming giant has announced the imminent arrival of nine Nollywood films that will be available to view on the platform this month. The Netflix release of these films will be scattered across April, giving people ample time to watch each title ahead of subsequent ones, and to get you prepared, so you can a lot your time wisely, here’s a list of these newly licensed films by Netflix, along with important information, including the dates they will arrive on the platform, quick synopsis and trailers to each film.

‘God Calling’ (2018) – April 2nd

As its title connotes, ‘God Calling’ is a faith-based film with Christianity at its centre. Written and directed by BB Sasore, the film is focused on Sade as she goes through the psychological ordeal of dealing with a painful loss that also tests her relationship with God. The all-star cast includes Zainab Balogun, Karibi Fubura, Richard Mofe Damijo, Nkem Owoh, Onyeka Onwenu, and more.

‘The Fisherman’s Diary’ (2020) – April 4th

‘The Fisherman’s Diary’ is the only non-Nigerian on this film, but is perhaps being marketed as such for publicity. However, this film was Cameroon’s submission for Best International Feature Film at the upcoming Oscar Awards, and even though it didn’t make the final nominees shortlist, it’s an indicator that it might be a great watch for those who haven’t seen it yet. Directed by Enah Johnscott, it follows the story of Ekah, a young girl determined to go to school in a village of fishermen where girls’ education is deemed to be taboo.

‘Ojukokoro’ (2016) – April 9th

Dare Olaitan is regarded as one of the younger directors adding a fresh dimension to Nollywood. His two feature films thus far, ‘Ojukokoro’ (2016) and ‘Knockout Blessing’ (2018) were released to critical acclaim, and previously unfamiliar viewers will be able to watch his debut on Netflix this month. ‘Ojukokoro’—the Yoruba word for greed—is a multi-genre film that combines crime and drama, as it follows a young, broke man who plans to rob the petrol station he works at. The cast includes Wale Ojo, Tope Tedela, Ali Nuhu, Somkele Iyama and more.

‘Awon Boyz’ (2019) – April 14th

To live in Lagos is to be conversant with its “Area Boys”, a term broadly applied to street hustlers and louts deeply woven into the fabric of the overpopulated state. In this documentary film, director Tolulope Itegboje takes a wholesome and intimate look at who an Area Boy is, where they come from, and what makes them tick on a daily basis. The subjects are eight men spread across three rough areas in Lagos, giving listeners small but substantial sample size to understand one of the state’s undying phenomena.

‘Doctor Bello’ (2013) – April 16th

Written, produced and directed by Tony Abulu, ‘Doctor Bello’ centres on an emotionally distraught cancer specialist who throws himself into work after the loss of his 10-year old daughter to cancer. In the course of his work, he bonds with 7-year old patient Sam, and he goes to desperate lengths to as Sam’s health worsens over time. It stars Isaiah Washington, Vivica Fox, Genevive Nnaji, Justus Esiri, and more.

‘Oloibiri’ (2016) – April 21st

The story of Nigeria’s oil rich Niger Delta region is one marked by pain, suffering and exploitation. The Curtis Graham-directed ‘Oloibiri’ is a depiction of how the Nigerian government, in collusion with oil companies, mistreated the inhabitants of Oloibiri, the small community in which oil was first found and the country’s first oil well was drilled. Its cast includes Segun Arinze, Olu Jacobs and Richard Mofe Damijo.

‘This Lady Called Life’ (2020) – April 23rd

Written by Toluwani Obayan and directed by Kayode Kasum, ‘This Lady Called Life’ is a drama film which follows a young, single mother on her quest to become a chef. Critically acclaimed upon its cinema release last October, the film’s cast includes Bisola Aiyeola, Lota Chukwu, Wale Ojo, Jemima Osunde, Tina Mba, and more. The film picked up several awards at the Best of Nollywood Awards last December, offering viewers further motivation to hit play when it makes its Netflix debut late in the month.

‘Seven’ (2019) – April 30th

Tosing Igho followed up his well-received debut feature film, “The Eve”, with 2019’s “Seven”, a drama film about a rich heir given prerequisites by his deceased father before laying claim to his inheritance. Kolade, played by Efe Iwara, has been tasked to live in Ajegunle for seven days, where experiences in the rough hood will challenge his privileged upbringing and worldview. The film also stars Richard Mofe Damijo, Bimbo Manuel, Daddy Showkey, and more.

ICYMI: HOW NETFLIX IS CATALYSING THE MOZAMBICAN FILM INDUSTRY

Listen to Psiv’s drill EP ‘Welcome to the 234’

Posted on by Tami Makinde

For many years, African music was synonymous with Afropop but thankfully, with the rise of the new vanguard of hitmakers on the continent, the perception of music is clearly changing. Amongst the myriad of genres now rubbing shoulders with sounds and inflections on the continent is drill music which has recently experienced a sonic boom.

From Kumasi to Johannesburg, Lagos, and more, the past few years have seen many new artists are adopting drill’s sensibilities into their music while rooting their lyrics in their distinct cultural differences. Psiv, a UK-based Nigerian rapper is currently making a play to be at the forefront of his country’s growing drill scene with the release of his debut EP ‘Welcome To The 234’.

 

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These days, it’s not surprising when an artist jumps from one sound to another. After majorly exploring Afroswing, a subgenre that was born in the UK, for his earlier releases, Psiv flipped the switch when he released “Gangland”, an up-tempo drill number featuring South African rapper and Fresh Meat alum Espiquet. The quick shift in gears afforded the rapper a place to confront the grim realities of Nigerian youths following last October’s EndSARS protests. With the release of his debut EP, Psiv now expands on his experience as a young Nigerian over the course of 5 tracks which mirror the vibrant and sometimes chaotic energy that characterizes Lagos, his hometown.

Packing a dizzying array of vocal deliveries, rhyme patterns, and quotable bars, his debut EP gives us a sound introduction into the rapper’s worldview. The snappy, bass-heavy beat on the project’s opener “Welcome” afford him ample space to fire off reams of hard-hitting bars about the city where he spent most of his formative years. “The government’s mad, it’s a vicious cycle/it’s peak in these streets, it’s shite too” he raps over the swelling up-tempo beat produced by Verse II, with visible anger in his voice about the stifling nature of his country. This theme runs through to the project as Psiv represents the anger and frustration that many of the young people in Nigeria currently feel towards a failing system and a corrupt government.

But it’s not all about the city’s hardship, there are ordinary moments. On “Story”, Psiv turns his attention to his opps and naysayers rapping insults and flexes with lyrics such as “Half of the streets don’t know my story/See don’t chat to me like we’re brodies”. Then elsewhere on “Mbappe” featuring rapper Chuckgidi, he spits potent bars about the city’s nightlife which he and his team have on lock like French pro footballer Kylian Mbappe. Psiv rounds off the project up with “Spin It”, a succinct boastful track where he sends a shout-out to him and his team as they have successfully “locked the streets with riddims”.

The entire album soundtracks a flight experience from London to Lagos allowing listeners to traverse through a sonic manifestation of the rapper’s multicultural reality. Even the project’s rollout was made to represent this with its unique boarding pass image which takes listeners on a flight from London to the +234, Psiv’s ‘Mad land’. The symbolic use of the country’s dialling code cannot be ignored, the rapper shows that drill is well and alive in Nigeria. ‘Welcome to the 234’ is clearly a glistening showcase of his newly refined confidence.

Stream Psiv’s debut EP ‘Welcome to the 234’ below.

Featured image credits/AdepojuEmmanuel

ICYMI: Listen to Yaw Tog’s debut EP ‘Time’

Bruk It Down: How Tems made ‘For Broken Ears’ standout, “Ice T”

Posted on by The Native

Bruk It Down, a video series shining a light on the producers and beat-makers behind the scenes, as they break down the intricacies of the songs we listen to every day. In the third edition of our NATIVE Original, Tems walks us through the making of her self-produced deep cut, “Ice T”.  

Last year, Tems released her debut project, ‘For Broken Ears’, a 7-track EP that took us on a journey through her healing. Wearing many hats as songwriter, producer and performer, Tems gave her full self to us through this project, continuing her aim to help others find healing for themselves through her music.

To ensure that her exact emotions are communicated through her songs in the exact way she wanted, Tems taught herself how to produce music. In 2018, a staggering report by The Recording Academy revealed that women make up 21.7%  of the music industry, and out of that, only 2.1% of them are music producers. Over here in Nigeria, this percentage is definitely much smaller, therefore, it’s important to highlight the women who have broken different boundaries in order to occupy this male-dominated space.

From the hip-hop influenced “Free Mind” to the soulful “Ice T”, Tems shows off her expansive sonic range, especially with her most powerful instrument: her voice. Against each self-produced beat, Tems expresses her emotion through intentional songwriting and measured pitches to suit the mood of each song.

For Bruk It Down, Tems (the first-ever female producer we’ve had in this series) walks us through the making of her deep cut, “Ice T”. From vocal samples to the build up, here’s how Tems took the emotions she was feeling at the time, and turned it into a song.

Featured Image Credits: NATIVE

Videography: Omowunmi Ogundipe, Producer: Damilola Animashaun

BRUK IT DOWN: TELZ TALKS US THROUGH THE MAKING OF “WONDERFUL”

Best New Music: Karun & Higo’s “Here With Me” is a glossy pop-soul exhibition

Posted on by The Native

In the near-decade since she appeared as a member of the seminal yet short-lived urban pop group, Camp Mulla, Kenyan artist Karun has hit the reset button on her career a few times, revealing a better-rounded and more assured iteration of herself at every turn. The singer, songwriter and producer is knee-deep into her third act, which is widely regarded to have started with the release of “Roses”, the alternative R&B collab track with producer Ukweli. She’s followed with a handful of headlining songs and collaborations, an artistic renaissance that has now culminated in the release of her new EP, ‘Catch A Vibe’.

This period in Karun’s career has been characterised by colourful and eclectic production choices. Her sonic choices all seem to echo the current era of borderless global pop music, a seesaw between confessional R&B lyricism and declarative Pop songwriting, all underpinned by her remarkably sweet-sounding voice that has consistently exuded a soulful charm. Off her new EP, which distills these attributes into a seamless listen, is the standout song “Here With Me”, a glossy Pop-Soul exhibition. The premise is simple—Karun is convincing a romantic partner of their suitability together—but its execution is refreshing and instantly compelling.

Created in tandem with producer Higo, who’s credited as co-headliner, “Here With Me” thrives on a clear understanding between both collaborators. On the song, Higo curates a brightly coloured but minimalist soundscape, combining sunny guitar chords and bouncy percussion with vivid Caribbean Pop tinges. This musical make-up emphasises the honeyed essence of Karun’s voice, while also leaving enough space for her fluttering melodies to bloom and for her narrative to fully grip listeners. “Wanted nothing more but to disappear, no love anymore/But somehow I found you, learned to love again”, she sings on the first verse, setting the song’s precedent after revealing that she’s “been hurt before”.

“Here With Me” is lovestruck, but it isn’t mindlessly numb or unnecessarily devotional. It’s a heartfelt confessional, one that is inspired by wholesome yearning, rather than the desperate verve often attached to romantic cuts of this type. Karun sings to her interest of the effect they’ve had on her since their bonds deepened, popping the question in a manner that splits the difference between coy and assured—“so, won’t you be with me?” she simply asks. The writing carries the playful nervousness of leaving a voicemail or a voice note in the dead of night, but even in this one-way conversation, there’s acknowledgment that romance is a two-sided effort.

“In fact, I loved you, you loved me/we played our parts, and we can sail away”, she sings on the final part which leads directly into the coda where she chants “sail” until the song fades out. On “Here With Me”, Karun merges the straightforward honesty of Hip-Hop Soul with sharpened pop instincts, which combines with Higo’s buoyant production to result in a song fitting for a hangout on a breezy evening, and poignant enough for many to relate to. With this single, the Kenyan singer continues to show her enthralling lyricism and her the depth of her vocal agility.

Listen to “Here With Me” below.

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

BEST NEW MUSIC SPECIAL: TENI DOCUMENTS HER UNBENDING CONFIDENCE ON DEBUT LP, ‘WONDALAND’

South African rapper, Dee Koala inks a distribution deal with EMPIRE

Posted on by The Native

There aren’t many things more enthralling than hearing South African rapper Dee Koala repeatedly chant “I pull up like whuzet?” on her standout single “Whuzet?”, an anthemic number that featured on her award-winning debut album ‘4TheKhaltsha’. Since this weighty introduction, the confident and witty Khayelitsha rapper has continued to mark herself as a force to be reckoned with.

This year, to make her stamp even more, the Fresh Meat alum now has her sights set on the next step, which will create more room for other rising talents in South Africa. Yesterday, alongside the official announcement for her 2021 debut, “Spazz” featuring Blxckie & K. Keed, the independent rapper also shared that her eponymous music and entertainment company had entered into a new distribution deal with American record label and publishing company, EMPIRE.

The distribution deal is impressive for many reasons; firstly, Dee Koala is a young independent artist with promising talent. Typically, many distribution deals of a similar ilk with artists on the continent have been procured through the artist’s management and record labels namely Olamide’s EMPIRE deal with his label YBNL and Warner Music’s deal with Chocolate City Records. However, Dee Koala’s new deal with EMPIRE works directly with her own company, rather than a huge local label. Although the rapper is currently its first and only artist, she already plans to expand and put others on.

Speaking about the new deal, Dee Koala’s manager, Leo Lobelo shares “It is such a blessing as she’s one of the very few Southern African artists to have a deal with EMPIRE. The business relationship between Dee Koala (Pty) Ltd and EMPIRE is so special; it’s a mutually beneficial deal.”

With this landmark deal, it is clear that Dee Koala is not only thinking about her legacy but that of many other upcoming South African artists who will soon be able to expand their music catalogue to more markets around the world

While we wait for the new track and more details of her new accomplishment, Stream ‘4TheKhaltsha’ below.

Featured image credits/Tshepo Marcus Mgadule

ICYMI: Get to know Tyla, South Africa’s latest starlet

Fresh Meat: Best New Artists (March, 2021)

Posted on by The Native

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 February’s Fresh Meat.

Women’s History Month may be winding down, however, now more than ever, our mission to amplify the voices and experiences of African women, both home and in the diaspora continues to grow strong and firm. Over the past month, we’ve chopped it up with amazing women from South Africa’s Tyla who is well underway to being her country’s biggest Gen-Z pop star, to celebrating our African mothers in special ways,  dissecting what it takes for small Black-owned businesses such as Kai Collective to be protected and even exploring the road ahead for Tanzania’s first-ever female president, Samia Sulu Hassan.

As we look ahead to a world where female voices are consistently heard and respected in our society, we are celebrating the African female artists who have inspired us to speak our truths boldly in a patriarchal world. Though female artists have always been an integral part of the fabric of our culture, they’ve often been shifted to the background,  at times pitted against one another, or maligned by critics and fans alike to ensure that only one remains on top. However, this new crop of female artists are showing us that it’s possible for everyone to exist and operate within their own lanes, delivering timeless classic music that deeply influences pop culture today.

It has been one year since we started Fresh Meat, and every month since, we have highlighted the best underground talent from all over the world we’re tipping for. In that year, we have made it a mission to ensure that the girls are also being heard, and seeing results such as Dee Koala’s recent joint venture with EMPIRE reminds us why it’s important for us to continue amplifying the voices of women. This is why this Women’s History Month, we’re dedicating Fresh Meat to the girls who have caught our attention this month.  From Amarafleur’s distinct blend of bedroom-pop and R&B to Nipho Hurd’s genre-mashing abilities, here are the women that are redefining Afropop, R&B/Soul, Hip-Hop/Rap and so much more.

Tyla

These days, the line between what is considered avant grade and what is mainstream becomes thinner each day, and this is good news for creators as they get to test their own limits and boundaries. 19-year-old Tyla Seethal is one of such artists, who is fusing a multitude of different genres and sounds to create her own distinct sonic style that affords her the opportunity to operate within her own lane. Although she currently only has one single to her name, the budding starlet is already being recognised, thanks to her unmistakable voice, which has endeared her to a multitude of listeners from across the globe, both old and young.

Tyla’s debut single “Getting Late”, is an earworm track that seamlessly blends pop sensibilities with the groovy percussive sounds of Amapiano. After releasing the groovy number back in 2019, Tyla was on a mission to expand the world around the single by releasing its accompanying music video. She wanted it to be the “biggest one in South Africa” and employed a team of close friends to bring her grand vision to life. However, Tyla’s career was put on hold a few months later when the world went into lockdowns due to the COVID-19 pandemic. Speaking to the NATIVE earlier this month, the rising star shared that she “struggled with patience” as she tried to grapple with the fact that her visual introduction to the world would be delayed. Still, this didn’t deter Tyla who ended up turning to social media to promote her single. 

The result is now being witnessed by everyone today, as the South African singer has become quite a hit on apps such as TikTok where she releases short clips and videos of her and her friends dancing to her song. Through TikTok, Tyla found a community of fans and listeners who stayed tuned into her content throughout the quarantine, eagerly waiting to see how she pulled off complex dance moves with ease. This year, Tyla finally got round to releasing the song’s Bring It On-inspired video where we see clips of Tyla getting ready with her girls for a marching band-led cheerleading performance. The video ends in Tyla and her friends delivering a stunning performance while her crush, played by the song’s producer Kooldrink, tries to win her over. 

To anyone looking from the outside in, it seems like Tyla’s ability to stay in tune with Gen Z popular culture has won her the hearts of many but it’s really down to her ability to meet the demand for something unique in today’s ever-changing industry. Tyla has already revealed her plans to experiment further with her sound on subsequent releases, admitting that she’s ready to try her hands at a myriad of different genres so it’s fairly certain to say that we may soon receive more genre-mashing bops from the singer. With only one official single out in the world, it may still seem like early days for Tyla but we’re already hedging our bets that 2021 is going to be one for the history books. 

Serena Isioma

Sometimes when you hear a song for the first time, you just know it’s going to be a hit record. This is how I feel about Nigerian-born, Chicago-based singer Serena Isioma’s breakout single “Sensitive”, the multigenre number which took over TikTok in the early days of quarantine last year. Only a handful of artists can make the same kind of electrifying introduction that Serena Isioma displayed on the number which finds them calling out everyone from fuck niggas to the government and sellouts. “Fuck niggas always tryna take my shit/Bitches these days are so sensitive” they quip over the futuristic production, as confident, self-assured lyrics flow effortlessly from the song’s very first line. So far, “Sensitive” has amassed over 80K videos on TikTok as it finds a home in a generation of social media users and influencers who are the very definition of the rebellious, care-free kids that Serena sings about in their music.

As a first-generation Nigerian-American, Serena Isioma grew up with parents who nurtured their musical abilities from a young age. The non-binary rockstar once shared in a recent interview that unlike maths, which they find incredibly tasking, music came naturally to them. “I eat, sleep, and breathe music,” they had said, echoing just how important music is and how committed they were to follow this path. The result of this unwavering dedication is seen best in their debut EP, ‘Sensitive’ aptly titled after their breakout single of the same name. The 5-track EP sees the singer seamlessly combining hip-hop sensibilities with lo-fi melodies and pop sounds arriving at a mixture that completely distinguishes them from their peers. Across the project, Serena Isioma showcases her impressive range and her unique style. There’s “Valentina” which is a sweet-sounding love song that finds the singer declaring their infatuation for a woman delivered with a fiery passion. Elsewhere on “Move” feat. Hatesonny, Serena Isioma soundtracks the intoxicating feeling of falling in love in a dimly-lit nightclub, their soft voice effortlessly gliding over the song’s spacey production. While on “Hard”, they encourage listeners to move on from discouraging experiences or losses because they do not determine the trajectory of their lives. There’s no song on the project that isn’t smooth-soothing and beautiful as they sing in a light airy voice that sounds almost like they are taking languid stretches over the beat.

Now, Serena Isioma is coming into their own in a very big way with their recently-released sophomore EP, ‘The Leo Sun Sets’. The project sees Isioma expanding the scope of their sonic ability as they explore an even wider range of sounds and genres from Funk basslines to heavy-hitting Rock drums & rhythms. We see Isioma finding their lane sonically as they deliver a 7-track project that traces themes of romance, self-discovery, solitude, anti-romance, self-love, and more. The project was compiled during the coronavirus-induced lockdowns of the past year which allowed them to create more than ever before. Speaking about the new EP, Serena Isioma revealed that, “Everything about this project touches on incredibly personal things that were happening in my life at the time of making this project. I’m glad I was able to tell my story in a way that resonates with others.” This statement rings through the most on the opening number “King”, where we find Serena Isioma boldly declaring to the naysayers “I’m the king of me”. The song is a powerful message of self-worth and power as each word carries a profound sense of self-awareness and shows a level of depth that is unfound in many young artists of today.

As Serena Isioma evolves and continues to experiment with their sound, the potential is clear and unshakeable. With the new year in sight, the singer is now looking to continue this forward motion with the eventual release of their debut album which seems to be slated for release sometime this year. In any case, there’s a wealth of old singles you can spin on repeat till they are ready to share their debut. Watch this space.

Amarafleur

It may seem like Amapiano, Hip-hop and House music often dominate the South Africa’s music scene, however, from collating these lists every month, we have observed that there’s a massive r&b scene out there. Even more interestingly, this scene seems to be dominated by women, who are coming into themselves and expressing their true selves through song. With only a few songs in her discography, Amarafleur has made a clear stamp that she’s one to look out for, thanks to her serene vocals, confident songwriting and distinct style.

Amarafleur’s month old 3-track EP ‘…And Then I Stopped Caring’ grabs your attention right from the title. The cover art, which sees a desolate-looking, blue-tinged Amarafleur looking into the distance, already gives you a good idea of what to expect from the project, and what you see is really what you get. The first track, “A Reminder”, she reminds listeners about the power they have within, in a convincing and confident pitch against a cool, slow tempo beat. From one listen, you can tell that Amarafleur is an integral part of the r&b revolution going on in South Africa at the moment, and out of all three songs, the pre-released “Whole” identifies this the most, with the bouncy beat reminiscent of a Lauryn Hill in the 90s. Pop culture’s harnessing of nostalgia has proven successful for many artists, and will certainly benefit Amarafleur. With her measured flow and vocal range, it’s only a matter of time until she works her way into the limelight, and judging by the reception of other women like her, she’s on track.

Celine Banza

Listening to Celine Banza’s music is like having your ears pressed up on her heart as she unfurls honest, sometimes complex, musings with an affecting grace. In late 2019, the Congolese singer, songwriter and guitarist won the gilded Radio France International Discovery Award, on the back of her powerful song, “Te Rembi”, a stirring ode to femininity that manages a handful of caustic swipes at the way society (read: men) centres and censors the sexuality of women at every given chance. “You think you can buy my soul with your assets/you confuse me with a commodity and a slave”, she sings on the track whose title simply translates to “My Body”.

The RFI Discovery Award, which has been won by several breakout acts from the Francophone region of Sub-Saharan Africa, has several perks usually attached to it, including a €10,000 cash prize, a mini-African tour, and a headlining concert in Paris. Due to the disruptive effect of the pandemic early last year, Celine has yet to cash in on the non-monetary parts of her win, which will bring her to new audiences across several countries. However, with society gradually opening back up this year, she’s still very on the money to capitalise on this opportunity, especially with the recent release of her excellent debut album, ‘Praefatio’.

Much like her breakout song, Celine’s full-length debut is rooted in emotionally expressive lyricism with a slight poetic twist, and a modern Folk sound that incorporates Neo-Soul, Soft Rock and Afro-Soul into its gently shaded landscape. ‘Praefatio’ is a largely personal album, drawn from societal observations and experiences, especially the passing of her father while she was young, but there’s a communal, relatable edge to the music. Celine mainly sings in Ngbandi, a local language spoken in the north of Congo, with the occasional song in English and French. It’s an assertion of her identity, a lingual choice that will very likely draw in more audiences than alienate, considering how instantly engulfing her music is on the strength of its identifiable tenets—the music and her voice.

Reminiscent of Folk-rooted singers like Oumou Sangare, Asa, Fatoumata Diawarra, and more, Celine Banza is telling her story and holding a mirror up to society without compromising her artistic vision, setting her up as the latest addition to this enviable canon of inventive and continentally impactful lineage of African women artists.

Nipho Hurd

“This song goes out to all the ladies dating a bag of wet hair”, Nipho Hurd offers at the very beginning of her impressive debut EP, ‘The Ghel’. Released about a year ago, that opening adlib shows the directness that makes the South African singer’s music immersive, especially coupled with her preference for an eclectic and altogether soulful soundscape. “Money”, the track containing that line, sees Nipho grappling with the influence of finances—or lack thereof—on relationships, with an understanding that both sides have to carry their weight even if the dynamics are bound to vary from based on the people involved.

The song is a great example of how much Nipho Hurd’s music hinges on the balance between universality and her own personality. Her thematic concerns are commonplace factors of the human existence—romance, financial self-sufficiency, fun, understanding of self—especially relatable to young adults who are still figuring the world out. What makes her stand out, is how she approaches these topics in a way that asserts her unique person and gives listeners the nudge to examine their own values. “My EP is a symbol of strength to me”, the Durban-based singer told Red Bull at the time of its release, explaining that her process of making music is a way of engaging with personal empowerment and self-improvement.

To do this in an effectively, the self-described nonconformist wraps her cloudy, sublime voice with varied layers of musical styles, pulling threads from Neo-Soul, Funk, R&B, Hip-Hop and Jazz into a warm whole. While the pandemic affected her plans, the year since the EP release has seen the singer find ways of engaging with her growing set of fans, performing her music on a few virtual shows. She’s also continued to experiment, recently revealing to Texxandthecity that her forthcoming release will feature her personal take on Trap, a genre she’s been fascinated with in the last few years.

Within the context of South African music’s R&B/Alternative corner, Nipho Hurd is another compelling character helping to push past conventions, both industry and societal. With an unbending dedication to being herself, and inspiring others to be themselves unabashedly, her message will only get louder and those who identify with her will multiply in the near future.

Featured image credits/NATIVE

Words by Dennis Ade-Peter, Damilola Animashaun and Tami Makinde