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.
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.
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!
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
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.”
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.
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.
.@Gyakie_’s “Forever (Remix)” with @Omah_Lay spends a second week atop the TurnTable Top 50— making it the No. 1 song in 🇳🇬 this week
It tallied 38 million in radio reach, 4.2 million in TV reach and 1.62 million equivalent streams
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.
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.
At every moment, Nigerian pop music is in conversation, both with multiple facets of itself and outside influences. When highlifemade 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’sjoint 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.
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.
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.
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’.
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.
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.
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
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.
My single ‘Spazz’ featuring @blxckie___ & @puta_official will be released on the 9th of April under my entity Dee Koala (Pty) Ltd, through my new distribution deal with EMPIRE 💙 pic.twitter.com/MxL5A3XY9n
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.
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 HereFor 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
As forecasted last week, Gyakie’s “Forever (Remix)”, featuring Omah Lay, has made its way to the zenith of the TurnTable Top 50 chart. The Ghanaian singer’s popularity has been increasing amongst Nigeria since the beginning of the year, with the original version of her smash hit gaining widespread traction around Valentine’s period. Now signed to Sony Music West Africa, with international links to Sony Music UK and RCA Records in the U.S, Gyakie has her sights set on being a pan-African superstar, and the ongoing success of “Forever (Remix)” is indication that her ambitions are well within reach.
Omah Lay, who’s been dominant on the Top 50, brings his influence to bear on a song whose original previously peaked at No. 18. This feat makes Gyakie the first non-Nigerian and second lead female artist (third overall) to top the chart with a headlining song, replacing Teni, whose Davido-assisted “FOR YOU” stayed at No. 1 for five weeks straight. “FOR YOU” drops down to the second spot, even though its freemium streaming numbers increased, most likely an effect of the release of Teni’s superb debut album, ‘WONDALAND’. It is worth noting that women have held the top spot of the Top 50 throughout Women’s History Month, a remarkable feat considering how long it took for a female artist to reach that position.
DJ Kaywise and Phyno’s “High Way” continues its stunning run on the chart, coming in at No. 3 for this week’s edition, after seven non-consecutive weeks at its peak No. 2 position. On the back of radio airplay impressions, Justin Bieber’s “Loved By You”, featuring Burna Boy, debuts at No. 4 this week; it’s the second time the Grammy-winning African Giant is assisting a Non-Nigerian artist into the top 10 of the chart. Ajebo Hustler’s and Omah Lay’s “Pronto” rounds out this week’s top 5, falling two spots from its former peak position.
The rest of the top 10 features familiar songs that have dominated in the last few weeks, including Omah Lay’s bar-setting “Godly” (8), Bella Shmurda’s street banger “Rush” (6), Joeboy’s romantic “Focus” (7), and Rema’s “Bounce” is at No. 10, falling three spots down from its previous No. 7 peak. The only new entry in the lower half of the top 10 is Laycon’s “Wagwan”, which jumps twenty spots up to No. 9. It’s the second time the rapper—and former Big Brother Nigeria winner—enters the upper fifth of the top 50, indicating the sustained momentum of his star power.
You can check out the full rundown of this week’s TurnTable Top 50 here.
With “Forever (Remix)” reaching #1 on the TurnTable Top 50, @Gyakie_ becomes the first non-Nigerian lead artiste to top the chart
The +17 rise of the song is also the biggest jump to No. 1 in chart history
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.
With this month being Women’s History Month, and a year since the coronavirus altered life as we knew it, our curation will emphasize celebrating women and music that have made these uncertain times more bearable. After a week long break, we’re back to putting you unto new releases, with today’s curation including recent drops from Gyakie, Burna Boy, Angelique Kidjo, Cassper Nyovest and more. Dig in and enjoy.
Gyakie & Omah Lay – “Forever (Remix)”
Gyakie is budding pan-African superstar. That much has been made clear by the ongoing success of her smash hit, “Forever”, a standout blue-eyed love song off her debut EP, ‘Seed’. Last week, the Fresh Meat alum shared the remix to the hit song, with a new verse from last year’s pan-African breakout star Omah Lay. To make proceedings even more significant, both singers are now international labelmates, with Gyakie’s recent signing to RCA Records via a new recording deal with Sony Music West Africa. Keeping momentum on “Forever (Remix)”, an accompanying music video has been shared, and it features crisp shots of Gyakie performing her set in a moving car, under neon lights (alongside Omah Lay), and in the midst of colourful flowers.
Mowalola – “LiKe ME”
Put a finger up if you knew one day, Mowalola was going to drop a song. Over the weekend, the many-faced girl dropped a short release, “LiKe ME”, where she made the stamp we see in her creative direction on wax. Against an electronic beat reminiscent of the backing music in an arcade game, she reminds everyone that she’s in charge, alongside a playful and psychedelic video directed by Odunsi The Engine.
Angelique Kidjo & Yemi Alade – “Dignity”
Over the course of her sprawling, awe-inspiring career, Angelique Kidjo has made it a point of duty to speak truth to power and encourage her vision of an African society that doesn’t step on the necks of its citizens. Inspired by last year’s youth-led protests against police brutality in Nigeria, the Beninese singer has collaborated with Nigerian singer Yemi Alade for a new socially charged single, “Dignity”. Over an up-tempo beat, both singers mourn the needless violence being endured by Black bodies all over the world, whether it’s outside the continent due to racism, or within due to greedy and self-serving government officials. The release is also accompanied by a brightly shot video, where we see both singers dancing and singing with a defiant verve, as a plot relating to the song also unfolds around them with an artsy edge.
Enisa & Davido – “Love Cycle (Remix)”
Albanian-American singer Enisa caught the attention of Nigerians on social media after rapper and her High Bridge label boss, A Boogie With Da Hoodie, suggested she collaborate with Davido for the remix of her single, “Love Cycle”. After months of strengthening her relationship with Twitter NG, and recently collaborating with Tanzanian singer Rayvanny, Enisa has finally dropped the Davido-assisted “Love Cycle (Remix)”. The new remix maintains its Reggaeton-indented beat and Enisa’s boisterous melodies, with the main addition being Davido’s typically assured verse, where he sings of being seduced by a love interest for his wealth and fame. The accompanying video plays to the song’s catchy elements, focusing on both singers performing their set at a neon-lit party.
Vector & M.I Abaga – “Crown of Clay” (feat. Pheelz)
A year after their highly publicised beef, Nigerian rap veterans M.I Abaga and Vector squashed their beef under protracted circumstances. Their tiff was the centre of a mini-doc series, they appeared together on the last Hennessy cypher, and the pair recently released a long overdue collaborative song, “Crown of Clay”. Produced by Pheelz, who also sings its hook, the new song finds both rappers in self-eulogising mode, while using pre-colonial ancestral heritage as the spiritual guiding force to give it more heft. Directed by Olu the Wave, the music video does a good job of capturing the song’s essence, blending hood elements and religious symbolism with an artsy edge. It inevitably ends with Vector and M.I sitting side-by-side on their thrones while wearing shiny crowns.
Shane Eagle & YoungstaCPT – “AMMO”
For the majority of last year, Shane Eagle was largely silent on the new music front, eventually releasing ‘Xenergy: The Final Saga’, a visual album at the tail end of the year to remedy the pandemic’s effect on his touring plan for 2019’s ‘Dark Moon Flower’. The South African rapper has opened his account for this year with “AMMO”, a boastful thumper that finds him at his typically imperial best, as he issues out notices to naysayers and brags about his stuffed pockets. He’s joined by YoungstaCPT who steals the show with a phenomenal rap verse that mixes brashness with introspective truths like, “raised hard/couldn’t show no weakness or kindness”. The video for “AMMO” is aptly frenzied, cutting together footage of Shane and Youngsta rapping their verses in a moving car, in a desert, in front of a church, and on the staircase of a high rise building.
Kamo Mphela – “Nkulunkulu”
As a singer and dancer, Kamo Mphela best encapsulates the visceral spirit of Amapiano as a club-ready sound for a young and fun generation of South Africans. Having contributed to several smash hits over the last two-plus years, including “Sandton” and “Amanikiniki”, her credentials are evident. Stepping further into the spotlight as a solo artist, she’s gearing up to release her sophomore EP, ‘Nkulunkulu’, in early April, and she’s just shared the title track as its lead single. As evidenced by its accompanying video, which features energetic dance routines and religious imagery, “Nkulunkulu” is a potential club banger, with its thumping production from Major League DJz, as Kamo prays to God for wealth and the strength to live her best life, singing with a chant-rap energy that’s become her trademark.
Cassper Nyovest – “Ama Number Ayi ‘10” (feat. Abidoza, Kammu Dee & Luudadeejay)
Cassper Nyovest isn’t afraid to experiment. In 2018, the South African rap superstar dropped ‘Sweet & Short’, an EP dedicated to exploring his lifelong fascination with Kwaito. Since Amapiano has taken flight, he’s collaborated with some of the burgeoning scene’s key players, and after speculation, he’s gearing up to fully dip his feet into the genre with a dedicated project. Ahead of the tape, he’s dropped “Ama Number Ayi ‘10”, where he boastfully chants over Abidoza’s groovy percussion pattern, droning piano synths and blown-out bass. He’s joined by Kammu Dee, who brings his trademark energy with a swaggering verse.
Burna Boy – “23”
Fresh off his historic win for Best Global Music album at the latest edition of the Grammys, Burna Boy recently dropped the video for “23”, arguably the best track off his excellent fifth studio LP, ‘Twice As Tall’. Inspired by “The Last Dance”, the documentary series focused on Michael Jordan’s epoch-making, final season at the Chicago Bulls, “23” is Burna Boy’s paean to his self-assured gait as an artist, where he compares his undeniable talent and unbending resolve to that of Jordan. With the Grammy win, the timing of the drop is impeccable, and even though it doesn’t hit grandiose heights, the video features imagery alluding to its inspiration, celebrates Burna’s record-setting feat as the first African artist to pack out London’s SSE Arena, and nods to Women’s History Month with the bulk of its supporting cast being women.
Ijekimora – “Sexy Papa”
As far as debut singles go in these parts, Nigerian-American singer Kimora’s “Sexy Papa” is as infectious and rhythmic as they come. The groovy new number is rooted in Afrohouse, a dynamic subgenre that has recently found a home in the diverse sonic soundscape across the continent. “Sexy papa, I’m really tryna know ya/Do you know how you awaken my world,” she sings sensually on the song’s first verse, flirting and teasing with a love interest as she tries to convince them of her affection. Kimora shows off her vocal range, effortlessly floating over the song’s catchy production which is sure to grab any listener’s attention. You can hear it in the melodies, this number was tailor-made for dancefloors as it soundtracks the intoxicating feeling of two lovers under the twinkling of club lights. “Sexy Papa” is also said to be the first promotional single off her debut EP out later this year.
Mukhy – “My Race”
Nigerian-born, UK-based Afropop artist, Mukhy is just days off from the release of his debut mixtape ‘Posh Nation’, a 9-track release of sweet-sounding numbers created during the lockdown. The project’s lead single “My Race” has just been updated with a befitting video, one which tells the story of an ambitious youngster with big dreams. Singing “We all get problems, I run my race”, Mukhy depicts his desire to forge his own path and make progress regardless of the situation urging listeners to subscribe to his philosophy. The Nosachii-directed visual includes crisps snapshots of Mukhy in the streets of Lagos, comfortably at home with the city’s inhabitants as he sings to the power of the underdog rising to fame.
Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter
Our Latest Column, “What’s Going On” Will Tally Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate All Over The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’, Will Discuss Just That.
Ever so often, we have to remind the Western world that Africa is not a country. This isn’t due only to their significant lack of enlightenment, but also because of the continent-wide similarities when it comes to social, political, and economic issues. For one, Africa is teeming with corrupt and inept leaders—many of them one would call dictators— who have failed to invest in meaningful infrastructure, all while derailing and rejecting systemic change through violent means if necessary. In addition to this, they are fully aided by deeply patriarchal, religious deferring, and ultra-conservative social constructs.
At the same time, across the continent, the current generation of African youth are pushing against these systemic boundaries, in order to continue the arduous work of rewriting the narrative. Even with all of the endeavours, talent and records being witnessed from music to tech, the limitations put in place by the continent’s political landscape still looms large. Every week, disparaging headlines from around Africa make their way to the news, reminding us of the bumps affecting these perceived stripes, and the roadblocks which delay our growth towards more wholesome and enabling societies for all Africans. Below are few news bits of what’s been going in on in the past few days.
Dozens killed during militant attack in Mozambique
Last Wednesday, hundreds of militants stormed Palma, a town in the Cabo Delgado province of Mozambique, targeting shops, banks, military barracks, and the site of a gas project. Militants who are allegedly linked to the Islamic State (IS) group have been said to be behind the deadly attack, however, no one has stepped forward to claim responsibility. This current attack is the latest in a series of attacks within the country which has left more than 2,500 people dead and 700,000 displaced since the insurgency began in 2017.
According to CNN Africa, dozens of people were killed and attacked following last Wednesday’s attack. Omar Saranga, a spokesman for the Mozambique Defense and Security Forces, said in a broadcast statement on Sunday that the fatalities included both locals and foreigners working in the region. Hundreds of people are said to have fled the scene, running into forests, mangroves or nearby villages, while others tried to escape the hotel in a convoy of vehicles on Friday, aiming for a nearby beach. At least 20 people were reportedly flown to safety in helicopters, but others were ambushed outside the hotel. The attack came hours after Total, the principal investor in a billion-dollar gas project, had announced that it was gradually resuming work after it had suspended all construction work in January due to a spate of attacks.
The extremist fighters have, since October 2017, raided villages and towns across Mozambique’s northern region, causing almost 700,000 people to flee their respective homes. The violence has left at least 2,600 people dead, half of them civilians, according to the US-based data collecting agency, Armed Conflict Location and Event Data. However, the total amount of fatalities following the most recent attacks are currently unknown with reports stating that many people who have been living and working in Palma remain out of reach due to a communication blackout in the town. Efforts are still ongoing by the country’s leaders to ensure the safety of everyone in the Palma and surrounding environs, and international governments have begun condemning the violent attacks which are said to have involved foreign casualties.
Protests against the arrest of student activists continue in Algeria
Back in February 2019, the Hirak movement was sparked in Algeria over the then-president Abdelaziz Bouteflika’s bid for a fifth term in political office. Protesters first marched on a national scale on February 22, 2019, repeating the act every Friday until the pandemic hit a year later. Although Abdelaziz was forced to step down from power a week later, protests continued as citizens demanded the departure of the ruling elite and a transition toward more democratic governance since the country’s independence from France in 1962.
The Hirak movement has now marked its second year anniversary, which has seen a renewed spark in the country’s activists and citizens to take to the streets once again, for the first time since the COVID-19 pandemic. On Friday, thousands returned to the streets of the country’s capital, Algiers, chanting slogans such as “let the system fall”. They also demanded reforms to Algeria’s government and were vehemently against President Tabboune’s call for an early June election in response to the country’s ongoing socio-economic crisis. In Algiers, authorities are reported to have arrested activist and poet Mohamed Tadjadit, along with six protesters, while the demonstrations held in Oran and Mostaganem ended in armed officers using pepper spray to disperse crowds protesting.
On Sunday, more protests erupted across the country, as citizens demanded the release of the student activists who were arrested during Friday’s anti-government Hirak movement protest. According to reports, hundreds of people gathered outside the Sidi Mohamed Tribunal in the capital Algiers which resulted in the eventual release of Mohammed Tadjadit and those arrested alongside him, a statement from one of the detained protesters lawyers reads.
Sudan signs a deal separating state and religion
In what could soon be regarded as a landmark case for democracy across the African continent, this week, the Sudanese government has just signed a declaration of principles that calls for freedom of religion and cultural identity in the country. The agreement also seeks to separate religion and the state, according to the BBC. The agreement was signed yesterday with the Sudan People’s Liberation Movement-North, a predominantly Christian rebel group that operates in the Nuba Mountains, and the transitional government of Sudan with a mind to ending years of war in the country.
Declaration of principles between the Transitional Government of Sudan and the Sudan People’s Liberation-North (March 28, 2021), Juba, South Sudan: text of agreement… pic.twitter.com/6IRyLfjw47
The declaration of principles signed in Juba stipulated “the establishment of a civil, democratic, federal state that guarantees freedom of religion, religious practice, and worship for all people.” This essentially means that the state no longer imposes any religion on citizens of the country and guarantees and protects freedom of religion and religious practice for all people. Sharia law was first imposed in Sudan in 1983, and maintained by the country’s now-deposed president Omar al-Bashir for the duration of his 30-year-long Islamist rule.
Apart from declaring the country a secular state, the declaration of principles also stipulates the sanctity of human, women’s, and children’s rights, and emphasises that the government of Sudan will now take the necessary measures to adopt international and African human right charters that have not yet been ratified into the country’s constitution. The country will also now have a single unified army which will reflect Sudanese diversity, and their allegiance shall be to the country and not to any other political parties or groups.”
Head of #Sudan Sovereign Council Lt Gen Abdulfatah El-Burhan and Gen Abdel Aziz Adam al-Hilu of SPLM-N sign declaration of principles mapping out roadmap to peace.
According to findings, a new strain of COVID-19 has been discovered in Tanzania, and scientists from around the world have called for the country to monitor and observe COVID-19 guidelines after largely ignoring it in the past year. A report submitted to the World Health Organization and regional bodies shows the strain has 10 more mutations than any other version, according to Tulio de Oliveira, Director of Krisp, a scientific institute that carries out genetic testing for 10 African nations.
The institution will continue to monitor how this strain interacts with antibodies as it was also reported that it is still uncertain whether the variant found in three Tanzanian travelers could more infectious or severe than other strains. Concerns still remain, however, as the country’s recently deceased President, John Magufuli, stopped the release of data on coronavirus infections and opened up the economy including the resort island of Zanzibar, which attracts international tourists. With the swearing in of the country’s new leader, Samia Sulu Hassan, many are keen to see whether she will take measures to revert her predecessors concerning health and safety decisions.
It’s almost impossible to not have come across Crayon’s colourful music. Back in 2019, after making his debut alongside his label mates on “All Is In Order”, the singer gave listeners a further peek into his world when he released his debut EP ‘Cray Cray’, an exciting pack of songs that provided a straightforward tour of his nascent and exciting abilities as an Afropop artist.
Now, two years later, he’s is no longer the fresh-faced newcomer on the scene vying for the attention of doting fans, but one of the recent entrants into the new vanguard of the Afropop genre. As he continues to grow his artistry, in an accelerating system built on hype and overexposure, Crayon has had to subtly expand the scope of his sonic ability, fine-tuning his pen game and perfecting his cadence so as to become an unmovable fixture in the industry.
The result of this is what fans are now witnessing, with the release of his sophomore EP titled ‘Twelve A.M‘, the follow-up to his 2019 debut. The succinct 4-tracker finds the singer, in his usual fashion giving Afropop an ethereal romantic touch and sound-tracking his experiences from his upbringing while comparing it with where he is now.
In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards Or Skips.
I really like the beat of this song. It’s not too heavy for an opener and it seems to strike the right balance between mellow and upbeat, it’s energetic enough to hold your attention. Props to London for the beat. Crayon definitely has an amazing singing voice and he’s clearly very passionate about this woman that he’s singing about, but I’m not relating to the lyrics at all. I can’t explain it but I will say that I’m not fully convinced they’re that in-sync, but that’s just me. Oouuu, who’s the female vocals at the end of this song? Sounds like Good Girl LA. I really wish her vocals were peppered further into different points of the song. It’s definitely a nice-sounding track but it’s not exactly for me, I can bet I won’t be revisiting this again.
“Too Correct” (feat. Rema)
I’m looking forward to this number because of the Rema feature. I’m so certain it’ll be ‘another banger’. Yup, confirmed in the song’s opening moments, this is an Amapiano number and, without a doubt, a strong single that deserves a befitting video. “Baby you too correct/This your nyash be like Tonto” is my new favourite thing and I will be saying it everywhere from now on. Omg did Rema just shout me out on a song? I feel seen, wow. Rema and Crayon sound scarily alike on this track – what is this sorcery? Anyway, this is definitely my favourite so far! The boy is too sure, this is a fire record.
“Man Dem” (feat. One Acen)
When a song is titled “Man Dem”, you already know it’s going to be cocky and brag-filled. Crayon’s iteration is no exception. Crayon begins the number by boasting about his lavish lifestyle, his access to the hottest exclusive parties, and the hottest women in the world. It’s clear that Crayon is at a point in his career where he can easily flex and stunt on his adversaries and actually mean it. “Can’t see me/ I go john Cena man dem” is definitely finding its way into my lexicon one way or the other. One Acen definitely adds momentum to the song, rooting it in a bit more authenticity seeing as Crayon isn’t really about that life (he grew up in Lagos).
“Jackpot” (feat. Bella Shmurda)
This was one of the project’s pre-released singles and it’s definitely a hit song by every metric. I never knew that listening to Bella Shmurda sing about love would be my beat but there’s something about hearing him sing, “You the best you the first from the rest”, that completely has me spun. From this, I definitely think Crayon excels in typically Afropop bangers rather than when he tries to step out and lean towards more R&B-focused numbers, but that’s just my observation, you may disagree. I’ll be starting a petition to have the official enunciation of ‘Jackpot’ swapped for ‘Jackpotty’ in the coming weeks. Also, I’m not entirely thrilled at the brevity of this project, we want more!
Final Thoughts
As a relatively fresh-faced act in the music industry, Crayon operates in a precarious position given that he’s at liberty to step out of his comfort zone, redefine himself and his artistry and experiment more with different genres for today’s omnivorous listeners. It’s clear from ‘Twelve A.M’ that the singer is currently striving to do this, as he infuses pop sensibilities with Amapiano sounds on “Too Correct” and delivers an open-heart confessional on “In Sync”. Speaking on the production and creative direction of his sophomore EP, Crayon shares: “This project represents a new dawn for me as an artist and the journey of discovery that I have been on so far. This is for my family, and the fans that have patiently stuck with me from day one.”
However, ‘Twelve A.M’ is too little a marker to measure any real growth or progression from the artist. Running just under the 15-minute mark, the project seems too short to offer any credible inference of the singer’s sonic advancement since his debut EP. Sure, no two songs on the project sound alike, and Crayon has incorporated new genres such as Amapiano into his world, but at the end of the project, there is a certain realisation that Crayon isn’t making any bold proclamations of his artistry or his growth, he’s simply delivering feel-good music that spins infectious hooks. To his credit, what may sound basic at first will very likely later becomes catchy melodies that linger on lips long after the project has been released.
From its quite-literal title, we can already draw subtle inferences that the tracks on the project possibly soundtrack Crayon’s late-night recording sessions, where he runs through different soundscapes in one-session. With this in mind, it’s easier to understand why there are no lofty targets set on this project, only a desire to deliver and perform while capturing the experiences of young people like himself. Crayon has certainly found his sweet spot in delivering delectable Afropop numbers that will draw hearts and minds to the dancefloors this summer. All in all, ‘Twelve A.M’ feels like the calm before the storm and a means to an end: The eventual release of his debut album.
Before Teni speaks, her sunny disposition says a lot about her, and when she speaks, we are always reminded of her larger than life personality. She’s maintained relevance on the afropop scene since she broke out with “Askamaya”, a vibrant and catchy party anthem that took over the radio and our social media timelines at the time of its release three years ago. Since then, she has continued to infuse her personality with her music, commanding the Afropop world with dance-ready bangers that have expanded her acclaim over the years.
In a scene largely dominated by braggadocious men, Teni presents a refreshing counterpoint and a wanted evolution, as the genre continues to shed skin and take on new life. She constantly sticks to her guns, by betting on her originality to get her ahead and from her comedic skits to freestyles and colourful lewks, it’s clear why she’s a favourite.
Never taking her foot off the gas, the self-proclaimed “one take god” has taken us through the different stages of her career through her social media, up until her most pivotal effort so far – the release of her debut album ‘WONDALAND‘. The 16-tracker that found her humbly praising God and her family for encouraging her on her journey so far, while recognising the strides she’s had to take to get to where she is today.
As far as debut albums go, ‘WONDALAND’ is remarkable because it brings everything we know about Teni as an artist together. We get to see glimpses of her close relationship with her family, particularly on the opening track “Maja” where her aunty sings her praises in their Ondo dialect. There are also moments of pain and reflection such as on “Hustle” where she passionately opens up about the crushing weight of expectations placed upon her since she broke out in the industry. ‘WONDALAND’ serves as a reminder that Teni is a musical darling. Though she largely dabbles in Pop, making earworm tracks that fans can enjoy long after the hype fades away, Teni also subtly widens the scope of her ability.
Over the 17-track project, she’s only joined by one feature on “For You” which is Davido, allowing her to go the whole range on her own showcasing her lyrical chops and her sweet-sounding voice. While these certainly help in piquing any listeners’ interest, it’s the visual world surrounding the album that has truly stood out for its uniqueness. So far, Teni has orchestrated an immersive album rollout, complete with a virtual reality (VR) experience, crossword puzzles, and an inflatable life-sized action figure, the first of its kind by any Nigerian artist. As much as her music is the pull to get listeners keyed into what she has to say, she’s also communicating through her visual aesthetic which has always been vibrant and colourful since her debut.
Teni’s unflinching personal style is as refreshing to experience as it is dynamic. Across the beauty, fashion and music industries, people who society considers to be plus-size are notoriously left out of popular conversations and even worse, they are forced to live in a society where their experiences are not catered for and one which endlessly demonises fatness. Teni’s success is a form of respite in the face of such barriers, through her music, and style, she has always shown that she’s rooted in an inspiring sense of awareness, and from the jump has championed messages of self-love, body positivity and striving to the best version of yourself you can be.
When you see her, she’s typically without a beat face, which is not a usual thing in Afropop. She’s usually donning baggy, comfortable clothes that represent her quirkiness, and true personality and this is very important, as it sends a message that women don’t have to cater to a certain aesthetic to make their music appealing. She’s redefining conventional ideas of sexiness, which shows that things are evolving past unwritten rules, and Teni is breaking down the doors by just being.
Scrolling through her feed gives you the greatest examples of her vibrant sartorial universe, and from multicoloured durags to ridiculously cool pants and an impressive jersey collection you can see why we’re endeared to her style. Here are a few of the best looks Teni has worn throughout her . Enjoy.
After a prolific run that saw them release five projects in a 9-month span between the summer of 2019 and April 2020, Scorpion King duo of Kabza De Small and DJ Maphorisa recently returned from a brief hiatus, and are gearing up to release a joint album with popular Congo-born South African singer, Tresor. The trio announced the project, ‘Rumble in the Jungle’, back in December, initially slating it for a late February release, alongside its lead single, “Funu”, a shiny romantic cut with a Disco-Funk sheen to it.
Earlier this year, the brightly-coloured video for “Funu” dropped, but the release also came with news that the album had been pushed back till April. Now, with April 9th as its final set date, the trio have ramped up the pre-release campaign back up, releasing a second single and its accompanying video today. “Folasade”, the new single, is significantly antithetical to its predecessor, trading in sonic minimalism without dampening the bounce that made “Funu” instantly anthemic. While it contains the typical House-indented flourishes that make up most Amapiano tracks, Kabza and Phori mainly build around super soft keys and a log drum groove.
Dialling up the charm several notches, Tresor sings of his admiration for the titular character, adding an impassioned edge that conveys the intensity of the sentiment behind his set. “You’re the one who’ll have my heart in this crazy world of sin/I need no other, you’re my forever”, he sings on the pre-chorus, willingly giving in to the spell of his love interest. The video for “Folasade” also diverges from the lead single, shot entirely in a dark location with dim lights, neon-lit bulbs, and psychedelic effects making for an enigmatic and sensually alluring video.
The video cuts between Tresor performing his set with an energetic gait, and dancers capturing the club-ready elements of the song. Kabza and Maphorisa also take up some screen time, making cameo-like appearances that involves them dancing to the groove they both helmed. “Folasade” is another compelling taste ahead of ‘Rumble in the Jungle’, an album that’s shaping up to be a blockbuster release for the upwardly mobile Amapiano movement.
Watch the video for “Folasade” below and pre-order ‘Rumble in the Jungle’here.
Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter
