An update on the Nigerian Government’s response to #EndSARS protests

Posted on by The Native

It’s been a month since President Muhammudu Buhari’s address to the nation where swift action against all SARS-related abuses was promised to the Nigerian people but yet, not much has been done to arraign defaulting officers and compensate survivors and their families. At every single turn, the government’s response has been to emphasise the importance of the work being done by the judicial panels set up across various Nigerian states, however, nothing immediate has been put in place.

In addition, they have continued to give us reason to distrust them, as the lives of Nigerian citizens, particularly those who were vocal and involved in the End SARS protests continue to be threatened. Two weeks ago, news filtered through that the State Security Service prevented a young female lawyer who had organised pro bono legal aid during the protests, Modupe Odele from flying out of the country.  According to the People’s Gazette, Moe was said to be under investigation and her passport was held by the SSS for over five days with no mention of the charges being levelled against her. But her plight which she has been very vocal about on Twitter and has gained her even further backlash, is just one of the strings of occurrences that have happened this month in the aftermath of the End SARS protests typifying just how skewed the vision of democracy is within our country.

The Central Bank of Nigeria freezes accounts of End SARS protesters

For most of the past few weeks, the government has employed a number of strategies to punish or restrict those who played key roles in the nationwide protests against police brutality and bad governance. During the protests, a number of young protesters and journalists complained about their bank accounts being restricted because they received funding from the Feminist Coalition or the End SARS Response unit. Although at the time, the CBN denied involvement in these banking issues, documents detailing the freezing order have now been released to the public.

Over the weekend, news of further restrictions on the bank accounts of private individuals involved in the protests has now being circulated across our various timelines. The Central Bank of Nigeria was reportedly ordered to freeze the accounts of 20 protesters including Gatefield Impact Nigeria and Rinu Oduala, one of the youth representatives on the Lagos state judicial panel, People’s Gazette reports. The banks that were ordered to freeze bank accounts of the #EndSARS champions included Access Bank, Fidelity, First Bank, GTB, Zenith and UBA. The freezing order is also said to be made in the interim for a period of 90 days, with a suit date adjourned for the 4th of February 2021.

End SARS protesters continue to be detained

Alongside this, a number of young Nigerians who participated in the protests continue to be detained across the country. Here in Lagos where protests have been quelled for over three weeks, following the horrific and brutal killings at the Lekki toll gate, there have been reports that protesters continue to be harassed and intimidated by law enforcement. On November 7, a musician and youth empowerment activist, Eromosele Adene began sending distressing tweets about his immediate fear of intimidation by the Nigerian police. According to sources, Eromosele’s home was broken into by armed officers and he was subsequently taken to the Commissioner of Police’s office where he was detained without access to legal representation. He was reportedly moved to Panti and then to Area F in Ikeja because of space constraints and has been accused of subversion and inciting the public to undermine constituted authority.

In the last week, Eromosele’s case had its fair share of ups and downs. Earlier in the week, the police went under oath claiming that he was not transferred to Abuja where his lawyers actually confirmed he was last week. Then, there were claims that Eromosele was arrested on the protest grounds despite video evidence of his sister confirming his arrest at their family home. Since then, Eromosele has remained in police custody for ten days with his bail set at one million naira and had his case adjourned in the Yaba Magistrate court where he was to be arraigned, with the judge citing the heavy media presence as the reason for the adjournment. Journalists were also barred from entry despite the case being a public hearing. However, with continued efforts from his team of lawyers, Eromosele has now been granted bail although the conditions of his bail are particularly strict despite any formal charge against him yet.

And in Abuja, where protests resumed last week due to the government’s lack of commitment to address the End SARS demands, four young men and a citizen journalist, Tosin Adeniji who took part in the protests in front of the National Assembly have been arrested and remain in police custody. They were subsequently arraigned at the Wuse Zone 2 magistrate court on charges of criminal conspiracy, unlawful assembly, inciting public disturbance, and public nuisance. The #AbujaSix, as they are now known, were at first denied bail and remanded in Suleja custodial centre until January 2021. However, last week, the six people being detained in prison, including Tosin Adeniji, were released on bail with a further court hearing scheduled for January 25.

Panic at the Afrikan Shrine

Yesterday, Seun Kuti posted a signed letter from the Commissioner of Police in Lagos State asking him to desist from holding a movement of the people meeting on the lessons learnt from the #EndSARS protests. The meeting was scheduled to hold today at the New Afrikan Shrine but the letter from the police force claims that the singer and activist is “hereby warned to suspend such gathering as any infraction that may emerge from this gathering will be tagged a deliberate action to sabotage the transition and restoration of the peace in Lagos State by the Lagos State Government and the Nigeria Police Force,” the letter read.

Refusing to be intimidated for exercising his legal right to assembly, Seun Kuti carried on with his plans to host a meeting stating that it was time to start our political resistance to the tyranny of this oppressive regime. However, today, news has reached us that police are now restricting movement in and out of the Shrine with their vans stationed around the venue to ensure compliance with the Commissioner’s order. It is yet to be ascertained if the situation has escalated further but we are currently monitoring the situation and this post will be updated with developments.

 

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Strange new laws and regulations

On top of all this, there has been no prominent arrest and persecution of any of the SARS officers who have been widely accused of police brutality. Alleged murdered such as James Nwafor and Abiodun Bolarinwa still walk free, yet a number of young Nigerians who fought and demanded for a better future for themselves and the generation after them, have been harassed, arrested, or have had their lives infringed upon in some way or the other. In fact, we learnt recently that Attorney-General Abubakar Malami has exonerated 33 ex-members of the SARS unit as there was no substantive proof against them, People’s Gazette reports.

Alongside this, it seems that the demands for nationwide police reform have also fallen on deaf ears as the Inspector General of Police, Muhammed Adamu has reportedly ordered for the police to respond with force when they feel their lives are being threatened. According to Sahara Reporters, the IGP warned that the Nigeria Police Force would not allow any form of protests in the country and has ordered the deployment of legitimate force to prevent attacks on private/public assets from any violent person(s) or group(s) operating under any guise. This announcement came after it was reported that the Federal Road Safety Corps (FRSC) would begin to bear firearms to curtail the excesses of road users in Nigeria. The Chairman of the House of Representatives Committee on FRSC, Akinfolarin Mayowa said that the implementation had become necessary to ensure laws were obeyed and to allow the FRSC function effectively.

But for many young Nigerians, these decisions taken by those in law enforcement are remiss. Nigerians have been crying out against police brutality where their lives are threatened or harassed simply for daring to exist, and the difference between life and death is simply whether you’re able to give into exorbitant bribes. Incentivising the police force further by approving commands for the use of force and firearms does nothing to address the demands of the End SARS protesters but does everything to continue to subjugate and harass them further. The government and the armed forces continue to respond with more brutality, and there is a sense that none of our demands have been honoured or will be in the near future. When you then think about the fact that conversations surrounding the censoring of social media have re-entered the chat, it’s not looking good and #EndSARS is far from over.

SWAT has begun training

On October 14th, the Nigerian Police Force announced the formation of the Special Weapons and Tactics (SWAT), a newly formed intelligence-driven team that would carry out the gaps in the system left by the now-defunct SARS unit. For many young Nigerians, the announcement of a “new” unit while there was still uncertainty as to the complete disbandment and prosecution of the SARS unit was incredibly worrying. Shortly after this, footage surfaced online on the training of the new unit and it did little to assuage the worry and fear of many Nigerians who found the training less than satisfactory. It is yet to be concluded when members of the new unit will be discharged into public spaces, but there’s a general sense that the menace is not yet defeated and that’s many are calling for #EndSWAT before it even begins.

DJ Switch has been granted asylum in Canada

As the lives of many End SARS protesters continue to be threatened across the county, many people have been worried about the safety of DJ Switch who had been instrumental in disseminating the events of October 20th exactly as it had happened. The national tragedy that has been vehemently denied by our state government until it was recently affirmed by the Nigerian Army who is said to have been deployed to the Lekki toll gate. Recently, the Army has conflated their earlier statement, claiming during the Lagos judicial panel that there was no shooting at the toll gate.

According to Salisu Bello, the commanding officer of the 65 Battalion of the Nigerian Army, no civilians were killed at the Lekki toll gate as the Army only tried to quell the crowd which had grown dangerous. When persuasion did not work, members of the 65 Battalion only shot blank ammunition upwards to scare off the protestors rather than fire at them. Bello claimed the armed officers even attempted to share water to the crowd, according to the Cable. The insistence on rewriting the story of that night has now caused many Nigerians to fear for the safety of DJ Switch who has adamantly stuck to the correct story, despite the many denials from those we witnessed on Instagram Live.

It has now been reported that the DJ has been granted asylum in Canada where she is currently residing to escape threats on her life. According to Sahara Reporters, she has been persistently being threatened for her account of the night of the 20th of October and had to move across various homes in Lagos to ensure her safety before making her way out of the country. She is also said to have told the Canadian Parliament the events of that night and how the army was acting on orders from above. If the news of her asylum status is true, we are happy at the very least that she has escaped death. Many young Nigerians like Pelumi Onifade, a young journalist in Lagos, who was vocal about the protests have wound up either detained or brutally killed.

Currently, as the judicial panels continue to hold across various Nigerian states, the trust in the government to do right by the Nigerian people continues to wean by the second. For many Nigerians, life over the past month has felt like sitting at the extremes of optimism and despair, however, with each new response from the government, our faith continues to diminish. The changes that must be taken in the aftermath of the protests are crucial to our development as a nation, but the tactics employed so far have done little to advance our cause and ensure a safer and better Nigeria for future generations. The goal cannot be for less police violence, we must continue demanding for no more police violence at all, and for a government that works in the interest of her people.

Featured image credits

Tami is available here @tamimak_

ICYMI: The Nigerian government seems more focused on every other thing than End SARS

Gigi Atlantis is asking the question that counts: “Can I Live?”

Posted on by The Native

Back in May, Odunsi (The Engine) went full on man-of-the-people, releasing the second EP of his four-year career, ‘EVERYTHING YOU HEARD IS TRUE‘ at the behest of his fans. Teasing “body count” a couple of days before its arrival amongst the highly-anticipated, “wicked, sexy!” and the secret Instagram finds, “luv in a mosh”  and “airplane mode”, the Gigi Atlantis-led record, which features Amaarae and a historical debut from DETO BLACK, was an instant hit.

On “body count”, Gigi Atlantis makes it known that numbers don’t matter when it comes to sexual promiscuity; “let your body bounce,” she chants, spreading a pertinent message, through the playful (rhyming) innuendo: DO WHAT YOU WANT. In her new single, “Can I Live”, Gigi Atlantis is fighting the general populous for that right. “I just want to let go (can I live?)“, she asserts on the conclusion of her first bar, before going on to make a compelling case for why “you’ll regret if you don’t talk to [her] nice.”

 

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A post shared by Captain Wahala 🌹 (@gigiatlantis)

Another Gigi Atlantis record produced by Ikon,  the beat for “Can I Live” is arresting from the very start, and to mirror Ikon’s punchy opening, Gigi Atlantis too gets right down to business, beginning the song by chastising the people responsible for blowing up her phone. It has been a while since I’ve heard a spoken intro, but to match the noughties basketball court groove of Ikon’s hip-hop beat, Gigi Atlantis brings back this nostalgic trope, albeit without the emotional sensitivity of the Usher intros that spring to mind. Where Usher went for pensive “damn”s Gigi Atlantis opens her latest with a “rah”; the pain in his voice as he admits, “see, it’s burning me to hold on to this,” would be mocked by Gigi’s irritated pun, “just cos I have a phone doesn’t mean I’m on call.” The catchy hook on “Can I Live” is significantly more inviting than Gigi’s initial scolding, but the topic remains the same – Gigi Atlantis would like to do her own thing, uninterrupted.

As well as being stacked with witty metaphors (the most memorable analogy being how she’d rather be salty than fake love or sweetness, because even if the pettiness lands an L, at least she’ll be cavity free) “Can I Live” is also full of sonic excellence. Changing pace for a melodic first verse, Gigi Atlantis does well to emphasise her forceful vocals – embroidered by her unique, theatrical delivery – by repeating the slowly sung riff again, towards the song’s end.

As did Amaarae on her “body count” follow up, “LEAVE ME ALONE”, on “Can I Live”, the Nigerian singer is putting herself and her peace of mind above the bustling and demanding music industry. Throwing out the explanation “self-care the making of a don,” for those demanding to know why she’d rather spend her time alone, “Can I Live” emerges as a quintessentially Gigi Atlantis record. Telling us everything we need to know about her in our TIME Issue Trybe interview (available for purchase here), “Can I Live” reaffirms what the singer asserted to me back in February: Gigi Atlantis is a boss.

Listen to the no-nonsense “Can I Live” below:

Featured Image: Abiola Renee/NATIVE

ICYMI: THE IMPORTANCE OF A SONG LIKE ‘BODY COUNT’ FOR AFRICAN WOMEN

NATIVE Exclusive: Meet Olakira, the “In My Maserati” singer ascending to Afropop ubiquity

Posted on by The Native

To say that Nigeria’s music scene is bubbling would be an epic understatement. From the Fela-dominated 60s to our present big three, Wizkid, Davido and Burna Boy, Nigerian musicians have a reputation for being internationally acclaimed; even though they’re constantly getting robbed at the Grammys, their global fan base affords Nigerian artists the luxury of touring around the world. The present ubiquity of Olakira’s latest single, “In My Maserati” has made him one of the new artists emerging from the country with a massive international following – his single now features at #6 on this week’s Top 20 Afrobeat chart UK, only Wizkid’s “Ginger” and “No Stress” and Burna Boy’s “Real Life” managed to secure spots above Olakira from an Africa point of view.

“In My Maserati” was released in June as the follow up to Olakira’s debut tape, ‘Wakanda Jollof’. Though he already scored his first hit song, “Hey Lover”, before he even dropped the EP last year, his new single has taken him from having regional acclaim to being an international success in a year that has been rough for most.

Last year, the NATIVE were privileged to spend time with Olakira, following the release and relative success of his debut album, ‘Wakanda Jollof‘. A lot has changed since our chat in 2019.

As a result of the COVID-19 pandemic, the music industry took a hit due to the uncertain future of live shows and concerts. The social distancing measures put in place for preventing the spread of the COVID-19, kept fans from enjoying music at concerts, club venues or dance floors and artists had to pivot to virtual shows without any clear indication of when touring would pick up again.

“My priority right now is to get my music out there,” Olakira told us when we spoke last year about what determines the direction he goes with his music. “It’s easier when people are already feeling the vibe and I’m very good with live shows cause of my experience performing at church, so really I can’t wait to have my own shows.”

We’re now approaching the last month of the year, December, the month dedicated to partying and music festivities that invites an influx of tourists who annually join in the euphoria. Though there’s still a gloomy cloud of uncertainty hovering over whether concerts will still happen in Nigeria this year, there’s no denying that Olakira’s music is now ‘out there’ and that he’s well-known and liked enough to pull a crowd of his own. If you turn on the radio right now, it won’t take long before you catch his infamous Yoruba tinged accent, singing “Hop (or up) in my Maserati” over the dancehall riddim of the beat he self-produced. His catchy melodies and impressive songwriting that manages to be equal part boastful and romantic make the song an instant earworm. And for that, it has caught on quickly on the radio. “In My Maserati” also ushered in a new dance move that involves wiggling of hips and pretending to shift gears. This makes for viral content that has, naturally, promoted Olakira’s hit single even further, as fans continue to post dance videos to the song. You can even find favourable comments such as “Who else came here from tiktok ?? P.s this song is fire from Romania” on the song’s video on YouTube – a clear example of how social media has helped the song spread to audiences around the world.

 

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“In My Maserati” is proof of an artist hitting his mark. Olakira is reaping the reward of patience and determination. His path to this moment – recording the breakout mega-hit (which now has a Davido-assisted remix) – has been a winding one; a story of bouncing back and correcting course after several detours and false starts. As a child, he started out earning N2000 for programming live music to cassette at his church then started recording music as Eben Jazz Beats before he quit in 2010 to focus on music production. It wasn’t until 2018 that Olakira finally signed to his label, U&I, as a recording artist under his new name (which means shining star in Swahili, explaining why so many fans post Kenyan flags on his posts).

Though he started from humble beginnings before signing with his label, Olakira was already performing on lineups with Mayorkun in Ibadan and making appearances at the New Afirkan Shrine before he scored his new hit single. With “In My Maserati”, Olakira has now cemented his status as one of contemporary afropop’s defining voices. For his eager and endlessly supportive fans, the song signifies him reaching a once unattainable, perhaps even inconceivable, milestone as an internationally recognised singer.

You can read a summary of our conversation, narrating his growth from budding talent to a megastar below.

NATIVE: Was there anyone who really pushed you to start making music?

Olakira: I grew up in the church. Started playing musical instruments in the church. I was earning 2,000 for programming music from the keyboard to record on cassette. At a point, I decided to make it professional and go record at the studio because people who heard me from church would always encourage me. My first time recording at a studio, the producers were impressed because I already knew my way around their equipment.

Where’d you grow up?

Ogun state and Lagos state. I’m a street guy oh. I’ve lived in every area in Lagos. I have a lot of guys. I’ve even had to change my line for privacy sake. They appreciate what I do cause they know me as a producer who has turned into an artist and I’ve been grinding for a while. I was moving around cause I was a music person. I was in Mushin for a while and that’s where I met Dotman. Don’t even know how it happened. I was at FESTAC for a year then I moved to Ikeja.

What inspires your music?

Majorly beats. I’m inspired by beats. Once I like a beat… I think it’s spiritual. There are some dope beats that you won’t catch any vibe with [though], I learned that from Wizkid. When I was with DJ Spinall, he was around and I played him my beats and the one I was thinking he’d vibe on, he didn’t do anything. Just said ‘play another’. But the one I just randomly played, he kept bringing up different melodies to it. Whenever I hear a beat I really love, I could use one beat to write like 5 songs.

I write for melody. I like to work in sweet and catchy melodies then I’d write my lyrics. But the lyrics have to be in harmony with the melody.

Do you go to the club to get a feel of what people are listening to?

It’s important to know what people are listening to in the club. But it’s not just clubs. What motivated me years ago was really what’s playing on radio stations. They play different kinds of songs. Not just afropop. It could be jazz and you’d be wondering what kind of music is this? Four years ago, I heard Runtown’s “Mad Over You” in a club. The loudspeakers inspired me. As an artist, you need to go to the club so you can get into the vibe of the club because it gives you that energy. And as a producer, you want people to dance and vibe to your songs. Playing the songs in your own sound system doesn’t really give you the same feel. In fact, sometimes I’d even start recording something at the club just off of some interesting melody that occurred to me there.

What have you performances been like so far?

I performed in Ibadan with Mayorkun last year. I had just started making music professionally so I was really amazed by the big crowd. The multitude of people vibing to my songs made me feel special and I wanted to keep making music that more people would want to listen to and vibe to. Shrine is also a stage everyone aspires to, it’s like a bragging right because of Fela’s legacy. We didn’t think the crowd there would vibe to “Hey Lover” because my listeners are [mostly] international. I was scared because of the street vibe at Shrine and I didn’t know how people would respond. I surprised to see all these hardcore guys holding their chest and singing along to the romantic song. I had goosebumps on my skin. Other memorable performances were Trace In The City, LASPOtech and Unilag. The reception was also massive. Even for my newly released songs.

In 2009 I performed at Unilag and I shut down the stage. I had that energy that I could make it after, but I didn’t have any management or the capital to fund my career. You need that bar to advertise yourself and get your music across to your audience. So I had to leave singing for production so I could earn money.

How did your management situation come about, then?

I stopped releasing music in 2010 and became a producer for the label [U&I]. When Dotman’s deal finished, they were looking for a new artist to sign. I was also looking for someone I could plug but then I was encouraged by my boss that I could just do it. What I learned from that is your time will always come because it’s a privilege to be signed to a label that’s established. Some people even think I’m based in the UK. They encourage me to move like an international artist.

So, what are your impressions of concert culture in Nigeria?

In my experience, people always come for shows. Even when they don’t know the songs, they’d still turn up for you if the music is good. I also think personality matters. Because in Lagos, you’re likely to run into a celebrity either in school, stores and all. But outside Lagos, others go to shows to catch a glimpse of these celebrities. Shoprite at Ibadan was packed and it’s a big venue. And I think it’s the personality, knowing that Davido and Mayorkun would be there.

What’s a day in Olakira’s life like?

I haven’t really had time to chill. I spend most of my time at the studio. There’s still be time for that [chilling], but right now I just want to be in that studio. With my experience as a producer, I’m just sort of used to being in the studio.

Besides your name, how much has changed?

My name is Ebenezer so that was my name. Then I started making gospel songs and jazz came from playing jazz music at Eko hotel. So I was called Eben Jazz Beats. Olakira means shining star in Swahili, it was given to me by my label.

I’m not free like I was before. I spend more, my standard of living is a lot higher. And the ladies, well the turn up is interesting now. My DM is choked. We never blow but my dm don dey blow. I don’t have too many friends. Just work friends. All my friends are artists. It has always been that way. You can’t be my friend if I’m not benefiting from you.

Why should people listen to ‘Wakanda Jollof’?

It’s from this continent. [It will] spice up the market for international audiences. Wakanda is a universal word that represents Africa. And Jollof is our favorite spicy rice dish in Africa. I’m basically serving the world my continent’s dish. The 7 tracks all have something behind it. It’s not just Afropop, it is infused with R&B and Jazz. It’s a unique sound. I’m bringing African sounds from the future to the present. It’s different from the normal songs you hear out there.

What inspires your songwriting?

It’s just me expressing my feelings. I love women, beautiful ladies out there. It’s more of love songs and how I feel about women. They are the beauty of the world. We can’t exist without them. Love is beautiful. I didn’t feature anyone ’cause I don’t want diluted sounds. Certain people thought it was fluke when I dropped “Hey Lover” and I need to prove to them that I have that talent. I just kept recording songs because e dey head (it’s natural to me). Like I told you, I like to spend time in the studio. In fact, it was too much. We should have just turned it into an album but I don’t want to rush things. Everything was just easy to record. Once you have the talent.

Would people’s taste determine what you make going forward?

Being an artist isn’t easy. I learned from making this EP that there’s a process. You have to keep giving the best you can. But it’s the things around you that make you. [You] can’t compare me to people that have been signed for four years. There are things they’ve experienced that I haven’t experienced. But I think I’m a fast learner. I’m proud of the music I have out there and I’m sure there are lots of awards waiting for us.

My priority right now is to get my music out there. It’s easier when people are already feeling the vibe. I’m very good with live shows cause of my experience performing at church so really I can’t wait to have my own shows.

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

ICYMI: In conversation with DJ Switch

Bruk It Down: How BurssBrain and Ozedikus tag-teamed on Rema’s “Woman”

Posted on by The Native

Bruk It Down, a video series shining a light on the producers and beat-makers behind the scenes, as they break down the intricacies of the songs we listen to every day. In the second edition of our new NATIVE Original, BurssBrain and Ozedikus take us through how they made the vibrant beat to Rema’s strong contender for Song Of The Year, “Woman”

No thanks to the coronavirus which kept most of the world indoors for the second quarter of the year, at least, the summer we had, was hardly a summer at all. Although restrictions did begin to ease as the Northern hemisphere sun spent more time awake, clubbing and fully packed parties remained a myth. In a lot of respects, this had an impact on the type of music we consumed. Back in March, Spotify recorded that their users were listening to more ‘chill’ music, and whilst the streaming service itself is not available in Nigeria, the keen uptake of Omah Lay’s soulful ‘Get Layd‘ illustrated this point here at home.

This general mellow mood didn’t stop Rema from releasing exactly the type of music he wanted, though. Back in July, he gifted listeners a trifecta of wonderful tunes, each with their own unique flavour. “Ginger Me” was the ‘chill’ type of music we’d been bopping to all year; “Alien” a hip-hop fix, whilst “Woman” the climax of this threesome was an Amapiano- infused dance-bop that ruled the late summer, as we began to slowly emerge from our various indoor locations.

Produced by Mavin in-housers, BurssBrain and Ozedikus, “Woman” is an uptempo record that flaunts the producers’ proficiency in replicating foreign tastes and marrying beats to vocals in the most intricate of ways. Both having worked with Rema a good many times in the past, BurssBrain and Ozedikus’ “Woman” is full of dynamic production elements that reflects Rema’s versatility and flexibility when he’s making music.

In our latest ‘Bruk It Down’ video, producers Ozedikus and BurssBrain talk us through how Ozedikus’ lockdown beat went from shakers, kick drums and its plural percussive elements, into a purely Amapiano beat, before BurssBrain, basing his ideas on Rema’s lyrics, brought in the Nigerian flair that makes “Woman” the African fusion record it is lauded for being.

We can all agree that this duo worked wonders on “Woman”, find out how it all went down above.

Featured Image Credits: NATIVE

Words: Adewojumi Aderemi, Videography: Omowunmi Ogundipe, Producer: Damilola Animashaun

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

Best New Music: Amaarae’s “Trust Fund Baby”, “Hellz Angel” & “Céline” is a phenomenal 3-song sequence

Posted on by The Native

Three years ago, thousands of previously uninitiated listeners were introduced to Amaarae’s ability to elevate songs into instantly captivating experiences. On AYLØ’s “Whoa”, the Ghanaian singer swiped the rug, both thematically and performance-wise, from underneath her host (to his credit, though, he’d set the stage perfectly for the scene-stealing showcase). Shortly after, Amaarae she released her breakout EP, ‘Passionfruit Summers’, a formative, immersive project where she heavily indulged in the weightless vibe of neo-R&B, bedroom pop and the occasional dash of cloud rap.

Between her flair for writing striking lyrics – often times daringly direct and cheeky – and a unique voice that can channel the ambience of a séance and personify summer’s warmth, it was evident Amaarae was developing into a singular, inimitable voice. From Santi to Odunsi, Kojey Radical to Show Dem Camp, a long line of artists tapped the singer for her sauce, and while her features always play a defining role in those collaborations, you could tell she was only lending out her aesthetic while figuring out the next stage of her evolution.

‘The Angel You Don’t Know’, Amaarae’s new debut album, is the manifestation of an artist with a far superior grip of her powers, as singer, songwriter and creative auteur. In 35-minutes of phenomenal music, Amaarae effectively reupholsters any prior perceptions of her abilities, remaining as distinct as ever but with new dimensions for good measure. It’s the culmination of a campaign that ostensibly began with last September’s “LIKE IT”, where she purposefully moved her music into groovy, viscerally affecting territory without sacrificing her unique vibe. ‘TAYDK’ builds on those sensibilities to deliver one of the more enchanting pop records this year, from anywhere in the world.

With maximalist production that is mirrored by the lurid and bizarrely alluring cover art, and Amaarae’s unflinching confidence as a performer, ‘TAYDK’ is situated on the cutting edge of afropop, exemplifying the genre’s adaptability to a wide range of sonic influences. “I strived to colour outside the afro-pop parameters and re-define for myself what it means to create African music”, she wrote in the album’s press release. Although each song plays a major role in ensuring this vision is wonderfully represented, the mid-album sequence of “TRUST FUND BABY”, “HELLZ ANGEL” and “CÉLINE” is symbolic of what makes ‘TAYDK’ unimpeachably great.

“Drown in sunrise, angels sounding off against the tides/I’ll take my time, soak in all the feels and all the vibes”, Amaarae chants alongside twinkling keys on the zen-inducing opening sequence of “TRUST FUND BABY”, using poetic imagery to set the scene for a song that exalts opulent sex. In certain terms, Amaarae declares that sex with her is a privilege, largely due to being financially secure. Singing about fucking on silk sheets, Amaarae’s effortlessly sensual vocals and gently snappy melody runs lend a casual authority to her boastful lyrics (“Trust I’m not trappin’ out the bando/had it all handed to me”).

If “TRUST FUND BABY” motions at confidence with sex and money as framing devices, Amaarae uses “HELLZ ANGEL” as an exercise in showcasing just how secure she is in herself, as a person and an artist. The sexy bounce of the preceding song segues into something much giddier, with a beat that intersects between bubblegum trap and psychedelic pop. Amaarae slips into a supple rap flow, reeling out bars extolling her impenetrable and vivacious candour. Stuffed to the ear with quotables—“I don’t make songs, bitch, I make memories/I don’t like thongs, ‘cause they ride up my jeans” is one that will instantly lodge in your head—“HELL ANGEL” is an extremely fun song, so much so that even when she briefly contemplates on the chances of buying her mum a Bentley, it comes across as a target she’s set on accomplishing soon.

“No, babe, I ain’t got a milli yet/but I’m blowing up on the internet”, she goes on to rap over the humming keys, knotty guitar riffs and sliding bass synths of “CÉLINE”. On the Kyu Steed-assisted cut, Amaarae woos a teasing love interest, leading with an unabashed honesty that finds her admitting horniness in charming manner: “I don’t really do feelings yet/but you’re getting kinda thick, yeah”, she sings. In addition to being incredibly catchy, “CÉLINE” continues Amaarae’s commitment to crafting sexually fluid songs, a trait that makes her even more unique within the relatively new vanguard of afropop.

In its own compelling way, ‘TAYDK’ brings to life a vision of the progressive African youthful creative, where there’s zero tension between honesty and cockiness or sexuality and romance. “TRUST FUND BABY”, “HELLZ ANGEL” and “CÉLINE” are at the centre of this experience, and in the process, Amaarae has undeniably strung together one of the best 3-song sequences in recent afropop memory.

Listen to ‘TAYDK’ here.

Featured Image Credits: Instagram/Amaarae

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

ICYMI: A 1-LISTEN REVIEW OF AMAARAE’S ‘THE ANGEL YOU DON’T KNOW’

Songs of the Day: New music from Yemi Alade, Pa Salieu, Ictooicy and more

Posted on by The Native

It’s been a while, but we’re now back at it. In a month full of loss from COVID casualties to peaceful protesters being shot at it didn’t feel right to carry on like normal, so we stopped everything to give all our time to the pressing issues at hand, it’s still #EndSARS, but let’s also find a welcome escape from the bleak reality of the world.  Even though it’s all quite overwhelming to take in, music has provided a necessary escape, and throughout the year, musicians have continued to release music that motivates us as a return to normalcy no longer seems certain.

We know it can be difficult to keep up with all the diverse streams of music so we’ve created this column to keep you, our readers, up to date with all the finest tunes coming out of Africa and the rest of the world. These are the songs you absolutely need to hear. We’re resuming Songs Of The Day again to support artists who are providing momentary escape through these strange times, here are our favourite picks to start your new week.

Yemi Alade – “I Choose You” featuring Dadju

Yemi Alade is always working. After releasing her fourth LP, ‘Woman of Steel’ last summer, the singer/songwriter is back with her fifth studio project ‘Empress’ out later this year. Ahead of its release, she has now shared a new single “I Choose You” featuring French singer Dadju. The afropop number addresses the two women’s desire to remain in love with their respective partners forever. Singing “If you take one step, I go take two step/Na you be my lover for life”, Yemi Alade captures the intoxicating feeling of being in a new relationship.

Pa Salieu – “Energy” featuring Mahalia

Last week, UK-based rapper Pa Salieu released his debut mixtape ‘Send Them to Coventry’ to incredible fanfare. The EP was brimming with stories of his Gambian upbringing and Coventry, his home in the heart of the West Midlands. The Mahalia-assisted “Energy” is one of the EP’s sweet spots, offering an introspective and reflective bop which speaks about societal issues, struggles with a broken system, self-care, and more. The accompanying video directed by Femi Ladi sees Pa Salieu delivering his rap verse in a black-and-white scene, as people carry out their various activities around him. He’s then joined by Mahalia, who brings some much-needed colour to the track.

April Maey – “Starry Nights”

R&b singer, April Maey has just released the video for her single “Starry Nights”, a standout on her debut EP ‘Ticket to Anywhere’ released back in March. In the animated video, a young couple takes a drive out to a campsite where they sit under the moonlight, playing and enjoying each other’s company. Speaking about the video, April Maey shared that “the video is about two young kids who try to save the moon by freezing time and putting the moon back where it belongs, in the sky”.

Alpha P – “Vibe with Me” featuring Psycho YP

Alpha P is back with a new EP, ‘Wolves & Mustang’ nearly a year after the release of his debut EP ‘King of Wolves’. The new release is a 4-track piece deftly weaving a range of genres from afropop, trap, r&b, and more, however, the Psycho YP-assisted “Vibe With Me” features as the project’s standout. “Baby let me give you all my love/oh baby vibe with me” sings Alpha P on the song’s first verse, as he expresses his romantic feelings for a muse.

Chimzy – “Tornado”

US-based afropop artist, Chimzy is back with a new single titled “Tornado” and it’s fire. His new single is an up-tempo number that shows off his clever wordplay and enviable flow as he effortlessly glides over the drubbing beat. Singing “If anybody, dey go put e hand for the fire/giving the like tornado”, Chimzy makes music for people to party to and feel themselves despite the clear warnings in his lyrics. He sends a message to the opps, warning them that trying him is synonymous with unleashing a blistering tornado storm.

Ictooicy – “Feel Da Same”

Back in October, singer/rapper Ictooicy teased the release of a new song titled “Feel Da Same”, her official first official trap release of the year. Fans immediately cried for a taste of trap Icy, teeming with excitement about what she would sound like on a trap beat, and now, the moment is finally here. Released over the weekend, “Feel Da Same” is a bouncy number that finds Ictooicy on her best form. Over the fast-paced uptempo beat, Icy rap-sings “Why do these niggas keep hating on Ictooicy/See me on IG, don’t smile for tha cam” running through a list of way’s she feels the same. She finds herself stuck in the same routine but rather than give in to this rut, she’s energetically counting the bands, hanging with her friends, and pouting for the gram: c’est la vie.

Davolee – “Happiness”

After the release of his extended mixtape ‘Festival Bar EP’ earlier this year, rapper Davolee is back with a new single titled “Happiness” just before the year runs out. The rapper who just welcomed his newly-born daughter is now expressing the joys of fatherhood with the latest single as he celebrates his wins and marvels at the joy he now experiences. Over the uptempo beat produced by Crespin, he sings “celebrate your wins cause problem no dey finish” encouraging his listeners to tune into whatever makes them happy and hold unto it because all they need in this life of sin is happiness.

https://www.youtube.com/watch?v=N9NQgfc39wo

Featured image credits/Instagram

.@tamimak_ Is a Staff Writer at The NATIVE

ICYMI: Listen to ‘YP & Azanti, Vol.1’ by Psycho YP and Azanti

SOBER SEVEN makes his 2020 debut with new single, “Rent Free”

Posted on by The Native

First cropping up on our radar last December, with a stunning accompaniment on 234jaydaa’s typically mesmeric “Pink”, the 24-year-old Nigerian singer, SOBER SEVEN has spent this year in silence, as he prepares his debut project for release next year; that is until, today.

With “Rent Free” – his first song of 2020, which happens also to be his first official solo single – SOBER SEVEN embraces the melancholy strokes of R&B, delivering an ebony tinted affair, announcing to his mostly first-time listeners that he’s the latest soulful loverboy on the block.

 

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A post shared by SOBER SEVEN (@lovesoberseven)

Opening with lulling synths before SEVEN’s raspy vocals enter in advance of an arresting (yet oddly peace-brining) electric guitar, “Rent Free”‘s production is simultaneously soothing and captivating, credited to The Rucker Collective producer, Jean Bleu.

Remaining in his head voice throughout, SOBER SEVEN’s vocals are not smooth, or devoid of character. The breathiness that emerges from his raspy voice, in fact, adds to the wistful vulnerability which SEVEN conveys through his lyrics. At first, his lyrics are modestly wanting (“I don’t trust you but I want to/I don’t trust you but I want you”), but as SOBER SEVEN get comfortable within his groove, he outright croons to the furthest corners that he absolutely needs his partner, doing his best to convince her to stay, between his repeated confessions, “baby I need you, baby I need.”

What others might describe as clingy, is, on “Rent Free”, painted as unashamed devotion – we don’t know the intricacies of SOBER SEVEN’s love affair, but his sensitivity on the track wins us over to his side. Expressing significant emotion through the song, even delivered in the form of moaning adlibs on the song’s outing chorus, “Rent Free“ ends with an equally as lustful outro, the electric guitar guiding us through nearly thirty seconds of stilling audio that bring the eventual peace the song’s introduction had first tempted.

A neat circle is drawn from the listening experience of SOBER SEVEN’s 2020 debut; enjoy “Rent Free” below:

Featured Image Credits: Sober Seven/Twitter

 

A 1-listen review of Davido’s ‘A Better Time’

Posted on by The Native

When Davido dropped ‘A Good Time’ last year, it had been 7 years since we got an album from him, however, he had maintained relevance and even risen to the top with at least one hit in circulation every year. This was enough indication that he had something special, and it became even more evident when his songs began to gain attention outside the shores of Nigeria and Africa as a whole.

Last year, ‘A Good Time’ seemed like a reset from back to back hits, where he was clearly just having fun creating music rather than chasing the hits. Songs like “Sweet In The Middle” and “D&G” hit the sweet spot by taking off anyway, confirming that Davido really has it, . Less than a year later, he has followed up with ‘A Better Time’, which feels like a sequel to the music we got last year.

Davido’s decade long stint at the top of the afropop totem pole has made it such that even though naysayers will say otherwise, he doesn’t have anything to prove. He’s been vocal throughout the year about how the pause 2020 brought with it was necessary, and we’re all hoping that it reflects in this new album. While the ‘A Better Time’s lead single, “Fem” was met with welcome reception, his Lil Baby-assisted follow up, “So Crazy” wasn’t quite, however, I’m quite excited to see how the entire project has come together.

Read my one-listen review to see whether our expectations reflected in the music. This is my first listen of the whole project with no skips, no playbacks, this review is just my unfiltered thoughts as I was listening to ‘A Better Time’

 

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“Fem”

I don’t think I’ve actually listened to this entire song properly, but I’ve heard it so much that I know all the words. I get it, It’s a quintessentially Davido song, and the beat is actually really good, that flute and thumping drums are working really well together, I think the beat is actually my favourite part of this song. I’m adding it to my playlist now

“Jowo”

Ooh.. this is different. Oh okay it’s familiar again, I can hear that like ‘pom pom’ that’s giving me “Fall” and “If” vibes. I really like this hook, I’ve never heard Davido on this form before and he’s really making it work. Davido’s mouth is very sweet, I would definitely dig a nigga singing these lyrics to me lmao. That drum roll has a really big presence, it definitely adds something special to the song. I think because the rest of the beat is quite mellow so each time it comes on, it really stands out. I feel like I’ve listened to 3 different songs in one, range.

“Something Fishy”

This is a jam, 10 seconds in I can feel it. I’m doing that thing I think is dancing, but isn’t really. ‘Something fishy in my kitchen is going down’ is hilarious, especially because I’ve just pictured Chioma making fish in Davido’s kitchen. I think this is going to be the latest song those live bands at weddings do, it’s giving me serious Lagos wedding reception vibes. I’m also really enjoying how this song is more about the instrumental than the lyrics, I’ve got to the end, and all I can remember him saying is “Something Fishy”.

“Holy Ground” ft Nicki Minaj

Davido has such a distinct sound, I wonder how all these different producers are able to capture it so well. I’m excited to see how Nicki comes in on this, is she going to sing? Is she going to rap? Are these bitches going to be her sons? Oh she’s singing, I love this. OH she spittin’ now, and now she’s singing again. Oh she’s lost me, I can’t keep up. Bruh, when modulates and starts spitting spitting. Wow I wasn’t expecting to like this song, it’s working for me, this hook is also really catchy. Yeah, this is hard, I don’t know what you people were talking about, oh. Ai Davido what’s this acapella at the end? I’m feeling it.

“Heaven”

This tambourine shaker, the sax, this sounds like it could be a bit Amapiano/Housey? Davido is killing it, I’m really enjoying this new side to him, it doesn’t sound forced or anything, That was a really easy listen, felt like a break from his usual sound and it wasn’t bad at all.

“Very Special”

Yeah I’m doing that thing I think is dancing again. It sounds like #thatniggawhoiwontmention wrote this song, the flow sounds like him. Our parents are going to love this song. Is that Mayorkun saying ‘ge ge ge? Lmao I love him so much. Okay this is going on for a bit longer than I want it to, I know making a 2 minute long songs is quite Gen Z, but this could be one of those songs.

“The Best” ft Mayorkun

This bread no be Agege – hard. Mayorkun is a fantastic writer, I don’t know what he’s saying but I grab sha – I ‘get oh’ lmao. I’ve been seeing people saying ‘shey you sing pass Wande Coal’ on the TL, this is where it’s from. This beat is really catchy, it’s exactly what I expect from Davido and Mayorkun collaborating and they’re riding it really well, Davido’s flow is insane, he tried oh. Mayorkun is actually such a good artist, I want to hear more of him on this album

“Shopping Spree” ft Young Thug & Chris Brown

Can’t lie, I want to like this song but it’s bad vibes. I don’t fuck with Chris Brown and I’m ready to skip as soon as I hear the opp’s voice, sorry to Thugger if CB comes before him. I love it when Davido does his American thing ‘that’s on everything’, he’s really sanging. I’m not sure why people were hating on this album oh, it’s slapping so far, and there’s clear artistic growth. Young Thug is a musical genius, how has he come in so smoothly on this song? Wow, his part was so hard, I wanted it to last a bit longer. This is a definitely worthy follow up to “Pere” – oh ok it’s the opp. Next

“Sunlight”

One thing about Davido, he has a very good ear. The sound engineering on these songs are fantastic. I’m not that hot on this song or the subject matter, but the beat is really speaking to me, all the different parts of it are coming together really nicely – to the point where I can barely hear what he’s saying tbh. There’s also quite a bit of space for the beat to just play as well, I like that.

“Tanana” ft Tiwa Savage

From this title and Kiddominant’s producer tag, I know exactly what to expect from this song. Yup, I was right, this sounds like a filler song, but it sounds quite unique at the same time. It’s growing on me actually, I think I can hear backing vocals from Mayorkun. ‘Whine that thing for daddy’, ‘take all my money girl it’s your money’ this is true romance, not any of that Ray J dancing under the rain shit. Oh hi Tiwa, I wasn’t expecting her, why doesn’t it say she’s on the song? Love their little duet of the chorus, this is cute. Yeah, I think I judged this song too harshly when it started, I actually quite like it.

“Mebe” ft Mugeez

Um, what’s going on? Ooooh, okay this is interesting. ‘Ge ge ge again’, can Mayorkun do this on every song released moving forward? I believe every single song needs that adlib. That syncopation fits in really well every time it happens, this is solid background music. Who is this? Mugeez? I’m going to find the other music he makes, his voice is really raspy and I’m enjoying it. Ok, this song is a bit long, why is there a whole minute and a half left? It could end in the next 30 seconds, I believe. Yeah this next verse isn’t needed, it could have faded out after the last chorus.

“La La” ft CKay

I’m excited for what CKay does. This song does ‘feel so good’, like Davido starts off with. The bass is thumping. Oh what? This beat is insane? This is a very good song. Whoops, I forgot what I was doing, this song is sweet oh, I think it should have come earlier on in the album. The hook + chorus were clearly made to become a chant, I can see it popping off for sure if outside is open in December, this is the one. I hope they make this the next single.

“So Crazy” ft Lil Baby

Ok, in context of the rest of the album, this song sounds a lot better than it did when I heard it earlier this week. Something sounds different. Perhaps it should have been a single after the album, I think people might have preferred it after hearing it alongside the rest of the album. This is crazy oh, I feel like I’m listening to a different song to the one I heard the other day. I don’t think this snare is working with Baby’s verse, I feel like they could have taken it out or something, I don’t know how making music works lmao. It’s a more Davido sound. Yeah this song is not bad at all, I quite enjoyed it actually.

Birthday Cake ft Nas & Hitboi

This is interesting, I’m hearing that hip hop bass drop, but also Afropop percussions at the same time? I like it. Hitboi did a good job with this beat, it sounds like a proper melding of afropop and hip hop. Why is he saying Czyba to Mufasa, isn’t it Sarabi? That’s distracting. Oh. No. Ion like dat, Nas. Yeah the beat mixed the two worlds nicely, but this verse isn’t doing what the beat did. The synergy is way off, Davido could have taken this one on his own, I think. Maybe it will grow on me on the next listen, this is a no from me.

“I Got A Friend” ft Mayorkun & Sho Madjozi

Ok this is not my kind of music at all, but I can tell that it’s objectively good. This house type beat is really rich and striking, I can literally hear everything. Mayorkun again man, he’s special, this ‘he gives me moneeeyy oh’ is amazing. Ok Sho Madjozi! She stole the show, this is her song now – whew, only lady here still the realest nigga in the room vibes. Those gunshots at the end, this beat is fantastic, wow. I love it when people shout their friends out at the end of a song. Aww RIP Olu

“Fade” ft Bella Shmurda

To be completely honest, I’ve only been listening to this album to hear this Bella Shmurda feature. Yes! It’s a song about God, I knew it. I love how Afropop finds a way to sing praise without sounding preachy or in your face about it. This nigga is talking about breaking your waist on the same song he’s saying he can’t run away from God, beautiful. I can hear an interpolation that sounds familiar, I think this that oruka ti d’owo na song? Yeah it definitely is. Bella Shmurda is floating, he and Davido have good synergy, love to see it. This beat is also amazing. I spent the whole song trying to figure out what that sample was, I have to go back and listen again.

“On My Way” ft Sauti Sol

I don’t get it… something feels off about this song. The beat is really like mellow, really soft strings and drums. I can barely hear it underneath these very loud vocals, sounds like it needed a more like mellow vibe. This chorus also sounds really weird. No. Oh no. This song is all over the place, the synergy is very very off – between the beat and the vocals, and also the feature. Yeah the album could have ended on “Fade”.

 Final Thoughts

As consumers, we tend to put an unnecessary and unfair pressure on artists to deliver to our ridiculous expectations, and it seems like following this album, it’s a good time to have that discussion. Pop stars everywhere in the world are never expected to deliver deep, thought-provoking music from their respective audiences, however, in Nigeria, we seem to expect this from anyone who is putting music out. This is why we must be intentional about what we’re calling our music, and why Afropop is the most fitting description for what we get. Davido is a pop star who is making pop music and is here to entertain us – that’s exactly what he does best. Right from the moment he broke out, it was clear that this was the case with back to back hits “Back When” and “Dami Duro” and I believe that what we’re getting today is an evolved version of what endeared us to him over the past decade.

Like he has stated several times, he’s grown from the hyperactive 19-year-old we met all those years ago into a father of three who is building a music empire. He’s in a different place in life and you can hear it on the music, his sound has evolved, but he manages to maintain the essence of what he’s always given us. If ‘A Good Time’ was Davido settling into this evolution, ‘A Better Time’ shows a refinement of his sound, and that he’s more comfortable with his growth.

He does the best when he’s in his comfort zone with songs like “FEM”, “Tanana”, “Very Special” and “Fade”, and sometimes when he veers out of this comfort zone, such as on “Heaven” or “Something Fishy”. While some of the album’s fat could have been trimmed down, every song (save for the last) felt necessary, and Davido made a different statement with each, delivering exactly what any pop star on their third album in a 10-year stint would.

The discussions on the timeline about the sonic quality of the music is dishonest, especially considering how good the production and engineering of each song is. Overall, it was a good album that will serve its purpose. I will definitely be adding revisiting a few of these songs.

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ICYMI: 5 takeaways from Davido’s third studio album, ‘A Better Time’

Listen to ‘YP & Azanti, Vol 1.’, the debut tape by Psycho YP and Azanti

Posted on by The Native

This weekend has been an exciting time for new music. Amaarae’s debut full-length album ‘The Angel You Don’t Know’ kicked things off officially yesterday, Davido rolled out third studio LP ‘A Better Time’, and over in Abuja, Psycho YP and new Apex Village signee, Azanti have now released their collaborative EP ‘YP & Azanti, Vol. 1’.

The youngest member of the Abuja collective makes his debut assisted by the braggadocious trap sounds of label mate and mentor, Psycho YP. The 8-track project sees both artists weaving a range of influences, segueing from afropop-tinged production in one track to alternative-r&b in the next, as thick distinct bass embellishes the arresting the flows of one of Abuja’s top young rappers, YP. With production from 44DB, Remy Baggins, Jaylon, and Azanti himself, the project offers a concise introduction into a talented newcomer with a knack for switching up his flows.

An expressive project, ‘YP & Azanti, Vol.1’ boasts of a cocktail of sounds, with sweet-sounding r&b in “Focused” and “Posted Up” to distinct afropop numbers on “Caro”, there’s no doubt that both artists have got the range. Psycho YP steps out of his comfort zone, holding off most of his unruly bars from this release, but finding the perfect balance between his two-toned personality: the hard guy and the loverboy. On “New Bag”, he seems the most at home, returning to familiar sharp, clear raps as he flexes his untouchable status.

But despite how many times YP seems to easily takes centre stage and showcases his knack for melody, and innate comprehension for cadence, he never overshadows Azanti, always leaving room for the newcomer to show off his lyrical chops and melodious voice. Azanti’s versatility marks the project’s sweet spot. On “Ji Masun”, Azanti sings, “I’ve been saying things/You’ve been playing games” addressing a lover who he doesn’t wish to lose. But though his intentions and lyrics are as straightforward as they come, he steals the show, excelling at bringing out the allure in the most mundane. It’s this magic touch he shows on other standouts like the Remi Baggins-produced single “Focused” and the mellow-r&b number “Posted Up” which is reminiscent of Bryson Tiller’s plaintively smooth voice.

It may seem like there are constantly genre-bending and shifting flows as each new song comes on, but it’s the moment of surprise before each switch up that keeps you engaged right until the very end. The project closer, “Caro” is another afropop number that sees them longing after a girl. Vibrant trumpets fill the song, further stretching the limits to which they have already taken their sounds. Throughout the project, you’re reminded that the rules don’t matter here, and by the end, it becomes clear that both artists intend to flood listeners with enough quotes to glide through the upcoming weekend, and they definitely succeeded. Now, we want more Azanti.

Listen to ‘YP & Azanti, Vol. 1’ below.

Featured image credits/YP 

Warner Music Group signs licensing deal with Audiomack for several African territories

Posted on by The Native

In July, Audiomack opened its first international office in Lagos, Nigeria’s commercial hub and one of the capital cities of African music. Audiomack’s arrival signalled a higher level of commitment to the African market from the streaming platform, as it looks to improve the quality of its services and grow its market share in Sub-Saharan Africa. Considering its increasing popularity amongst the continent’s modestly growing streaming audience, Audiomack’s physical presence was well-received as a potential step in the right direction, not only for the company, but also for the commercial structure of music in Nigeria and Africa.

Widening the catalogue of music accessible to Audiomack users in multiple African countries, Warner Music Group has announced a new licensing agreement with Audiomack. The deal is set to ensure that the record company’s diverse catalogue will be in countries available across the continent, as well as in Canada and Jamaica. Among the African countries included in this deal are Nigeria, Ghana, South Africa and Tanzania. Also included in the partnership, Audiomack will provide support for WMG’s A&R activities in the region, using data-based insight to help the record company identify talented, rising stars.

 

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“We are delighted to bring the Warner Music Group catalogue to Audiomack’s millions of listeners across Africa”, Dave Macli, CEO of Audiomack remarked in a statement. “Audiomack’s goal has always been to provide every artist worldwide with a no-cost platform to launch their careers and connect with new fans. As a result of this deal, African artists on Audiomack who decide to partner with Warner will remain on Audiomack and connected to their earliest supporters.”

Warner Music Group is one of the “big three” recording companies. It owns and operates some of the biggest and most successful record labels in the world, including Warner Records, Atlantic Records and Parlophone Records. Last year, it signed a partnership deal with Chocolate City, one of Nigeria’s most revered record labels. This partnership with Audiomack is the latest strategic deal in the record company’s goal to emerge and strengthen itself as a key player in the African music market.

“We are really excited to be able to tell more African stories with this new deal”, Charlotte Bwana, Head of Business Development & Media Partnerships at Audiomack Africa, remarked. “We look forward to supporting the most brilliant talents from this side of the world on a more global scale.”

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

ICYMI: THE SIGNIFICANCE OF LEAKS & PIRACY IN NIGERIA’S INCREASINGLY STREAMING-RELIANT SOCIETY

5 Takeaways from Davido’s ‘A Better Time’

Posted on by The Native

Barely a year after the release of his highly-anticipated sophomore album ‘A Good Time’, Davido hits back with his third studio LP ‘A Better Time’, a remarkable feat in afropop’s sonic terrain – where singles once ruled and dictated longevity in the music market for decades. For an artist like Davido, who had previously only released two albums in his career, dominating instead with chart-toping singles every year, releasing this ‘AGT‘ follow-up in such quick succession is a remarkable rarity; but in a year as unprecedented as the one we’ve had, Davido doing the unexpected doesn’t come as much of a shock at all.

With cross-Atlantic features from Sho Madjozi to Nicki Minaj, Young Thug to Mayorkun, Nas to Lil Baby, from Chris Brown to CKay, and more, ‘A Better Time’ is evidently a glitzy afropop record slathered with a range of global genres, such as R&B, South African house, hip-hop, reggae, folk music and more. The 17-piece affair, which clocks in at 55 minutes, just shy of the 1 hour mark, is a brisk expression of the singer’s tumultuous year. Through cancelled concerts, a global pandemic, rumours about his public and private life, Davido emerges victorious doing what he does best: serving up joyous party anthems.

In a recent interview with NY Times, the singer shared: “One thing about Africans – rich or poor, happy or sad – is that no matter what the situation going on in your country, you always find a reason to smile and just be happy. We [African people] always like to celebrate and ‘A Better Time’ is that outlet to be free, be happy, and hopeful for a better future.” And it’s evidently his hope to celebrate and express himself, no-holds-barred, that translates on ‘A Better Time’. From the incredible production to the penchant for romantic songs, Davido was definitely in his bag for this one. The project may not be his magnum opus, but it sure does leave some lasting impressions. Below are my five takeaways while listening to the project.

 

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The production is FYE!

For the last few years, Davido has been one of the artists reshaping the sound of afropop. On ‘A Better Time’, he takes things up a notch by seamlessly blending the percussive sonics of afropop with hip-hop, R&B and more, playing with sounds that buoyantly couch the stellar verses from his international collaborations. It suffices to say that nothing sounds amiss on the project, not when Davido is plunging listeners into his familiar amped-up party jams, nor when he’s delving into his romantic R&B bag on numbers like “Jowo”, which mirrors previous hits “Fall” and “Assurance”.

The Young Thug and Chris Brown-assisted “Shopping Spree” (produced by Masterdon) is one of the project’s sweet spots, evoking the euphoric feeling of a knife cutting through warm butter. The enchanting beat is masterfully mixed to accommodate Young Thug’s passive drawl and even includes moments of Davido’s famed throaty shouts. Then the groovy “Tanana” emerges with Tiwa Savage’s melodious vocals, replete with Kiddominant’s familiar bounce, whilst Blaise Beats angelic guitars and bass on “La La” brings a kinetic energy to the up-tempo number.

Davido is still a lover boy

Back in 2019 when Davido sang “When I look into your eyes, all I see is your waist”, we all thought nothing could possibly top this iconic pickup line, but Davido has proved us wrong yet again. On the Mugeez-assisted “Mebe”, he wittily compares his woman to the law of physics (perhaps hinting at her irresistible attraction). Singing “Girl with this your body physique, e go make man study physics”, Davido shows that he’s not done with his hilarious, and sometimes outrageous comparisons. ‘A Better Time’ is at its best an undying declaration of love, and Davido sings about it in all its forms: from deep romantic love to casual flings, quick crushes, as well as the love for friends and family.

The biggest clue that ‘A Better Time’ aims to celebrate the love in his life lays not in the singles with dead giveaways in their titles such as “Heaven”, “Very Special” and “Holy Ground”, but actually in the project’s cover image which sports an affectionate image of the singer and his son with fiancé Chioma Rowland. Unveiled two days before the album’s release, Davido had sent out a tweet reading ‘OBO Jnr makes his debut today’, a proud dad moment that we all collectively cherished. We’ve literally watched acts like Davido and Wizkid (also a proud dad) grow up in the music scene, and seeing this wholesome embrace of familial love publicly has been most pleasing to me.

Davido is a BARB! All hail Ms Minaj

The Barbz (Nicki Minaj’s loyal fanbase) are some of the fiercest stans known to man, competing closely only with Beyoncé’s famed Bey Hive. Ms. Minaj is one of the most talented, beautiful, rich, and successful rappers of all time, so it’s no surprise that her fans are the loudest on social media, flying to her aid whenever the Nicki hate radar goes off. So, to find out that Davido, one of the biggest afropop stars at the moment, is a Barb is a moment most unexpected to me.

Not a drill, it is still hard to believe that Davido and Nicki Minaj have a song together. As if that weren’t gift enough, it is flames! Though the collaboration was trailed by hype when it was first teased, “Holy Ground” actually leaked a few days before the release of ‘A Better Time’, a moment that sent all of social media into a frenzy. Thankfully, the leak didn’t cause any adverse effects to the album’s release. In fact, “Holy Ground” is currently the highest-charting of all the songs on ‘A Better Time’, having already reached #1 on the Worldwide iTunes chart. Someone pinch me. Yeah, they’re going to have to wake me up from the grave cause currently typing from the afterlife. Dem ded. Y’all be easy.

The man has a lot of friends

On “I Got A Friend” featuring Mayorkun and Sho Madjzoi, Davido says “Okay I’m here to introduce to you a couple of my friends, and I want you guys to know who they are right now” before lunging into a groovy amapiano record that endlessly lists out his numerous friends: AB Kush, Tiny, Daddy, Latti, Tycoone, Dangote, Dami, Pop Smoke, E Cool, DJ Olu and many more. But beyond the names he remembers to list out on this standout track, the album’s star-studded guest list, which is more populated than 2019’s ‘A Good Time’, boasts of the many friends Davido has made in the industry.

In interviews, Davido has been very vocal about how many of the features came about, particularly the international ones. Nicki Minaj was secured through an Instagram DM on a drunk night out; he ran into Nas at a bathroom while in LA, which led to a studio session by the end of the night, and a music video not long after; and he’s now received congratulatory tweets from both Lil Baby and Nas who fondly referred to him as ‘bro’. Clearly, Davido has the most enviable friends list at the moment and nothing can stand between him and this moment.

Of Lay Lay

It would be disingenuous if I didn’t mention how Mayorkun killed his features on ‘A Better Time’. The man is already skyrocketing into GOAT status and his appearances on not one, but two songs on this project is proof enough of his sauce. A Davido and Mayorkun hit is not uncommon. Between the two artists, they both share undeniable jams such as “Betty Butter”, “Bobo”, “On God” and more, but on ‘A Better Time’, they completely flip the switch and deliver some of their best collaborations to date. Already being compared as synonymous to the high felt from hearing Lil Wayne’s lighter flick, Mayorkun’s signature introduction might just be a contender for the hardest tag of the year. Many are already calling for his album next but whether he indulges or not, this man deserves his flowers right away!

Featured image credits/Uziii

.@tamimak_ Is a Staff Writer at The NATIVE. Tweet me your takeaways from ‘A Better Time’.

ICYMI: Davido is back to show us why he’s a quintessential popstar

NATIVE Premiere: Psiv links up with Espiquet for angsty drill anthem “Gangland”

Posted on by The Native

Though drill music first originated in the famed southside of Chicago, it has since spread its sonic reach into other parts of the world, rubbing elbows closely with other genres and cultures, and adapting to the homegrown sounds wherever it settles. Now, the genre has been adapted into various musical enclaves in Africa, from Nigeria to South Africa, and most especially in Ghana where ‘Kumerica‘ has taken on a life of its own in the burgeoning drill scene.

So it follows that for his latest single this year, UK-based Nigerian artist Psiv would tap into the gritty sounds of South African rapper and Fresh Meat alum Espiquet for a charged-up drill anthem that sees both artists on their best form. Psiv makes his first official foray into drill, after dabbling in afroswing for much of his earlier releases, however, within the confines of drills rhythmic snares, Psiv’s focus turns towards addressing the grim reality of Nigerian youths.

 

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Opening up with a swelling up-tempo beat produced by A2RBeats, “Gangland” welcomes you immediately to what is termed as the “mad land“,  the dialling code +234 is used to symbolise his home country Nigeria where corruption, bribery, violence, police brutality, and government impunity are at an all-time high. Taking the lead on the new number, Psiv expresses his anger about his country, mirroring a frustration many young Nigerians currently feel in the aftermath of the End SARS protests. In “Gangland”, there are no rules and everyone is on guard and to survive, he’s had to stay ready to pattern the opps as they rise up against him, as he rises up.

Espiquet joins Psiv on the song’s second verse, his flow arresting and menacing. In our last conversation with the rapper, he shared that though the year may have stalled his travel plans, he’s lucky to be able to travel through the internet – his online proximity to the attacks in Nigeria over the past month has also riled him up toward demanding change.

Speaking to NATIVE about the release, Psiv shared that:

“Gangland mirrors the not so glam parts of the Nigerian reality. Living through the madness, and being socialised to ignore insanity. At so many different levels, we see the country being run like a cartel; at government, and even in normal society. We see government officials use state agencies to intimidate people, we see notable people in society use state agencies to intimidate victims. I made the song in August, and seeing the protests in October, it was like a self-fulfilling prophecy so releasing it now is my way of showing what’s happening here and fuelling each and every one of us to keep going.”

You can listen to “Gangland” exclusively on NATIVE below.

Featured image credits/Psiv

.@tamimak_ Is a Staff Writer at The NATIVE

ICYMI: Get familiar with drill music from the African continent

Less than a year later, Davido might be back to show us why he’s the quintessential pop star

Posted on by The Native

Seven years and four months. That’s how long it was between Davido’s debut album, ‘Omo Baba Olowo: The Genesis’, and his sophomore album, ‘A Good Time’. Contrast that duration with the eleven months and nineteen days it will take the juggernaut to follow-up with his third studio LP, ‘A Better Time’, out this Friday. Considering how long it took for a second album, not too many people would have predicted a full-length return less than a year, but 2020 has been a year to expect the unexpected, and a Davido album will undoubtedly be one of the more pleasant surprises.

Like the rest of the world, Davido was forced to slow down, following global movement restrictions to combat the rapid spread of the ongoing pandemic. In March, when the U.S. began to impose lockdown rules, the singer was in the middle of a tour supporting ‘AGT’, which was effectively cancelled as soon as it was clear that there would be no live shows for an indefinite period. The cancellation of these shows helped in redirecting all of Davido’s energy towards ‘ABT’, an album that was already in the works and was initially rumoured to be due sometime in the summer of 2020.

To the regular bystander, it might seem as though Davido is intent on moving on quickly from ‘AGT’, which may not have been a good omen in the past. In NATIVE‘s Issue 002 cover story, Davido told us that his 2016 EP, ‘Son of Mercy’, “shit”, which was symbolic of the uneven reception it received and the speed with which the singer’s abandoned the project for his Back to Basics phase. Unlike ‘SOM’, though, Davido’s sophomore was the culmination of his renewed reign as one of African music’s premier, perennial superstars, a run that tracks back to the “IF”, “Fall” and “FIA” string of hits in 2017.

Without a doubt, Davido delivered on his promise, crafting and delivering an album that turned out both critically and commercially acclaimed. Critically, the album was well-received upon release, and it was widely lauded for its consistently great production choices and sonic cohesion. “Davido curates a buoyant, unsinkable record, one of the genre’s (afropop) finest ever”, Sheldon Pearce wrote in his excellent review published by longstanding music publication, Pitchfork. It’s the sort of lofty praise that’s reserved for a classic album, or at least an album with the potential of being called classic in the near future.

Although I haven’t given much thought to whether or not to regard it as a classic, revisiting ‘AGT’ on multiple occasions in the near-year since it was released has only reinforced my opinion that it is Davido’s opus. The 17-song set collects everything great about Davido as a compelling performer and songwriter into a finely aggregated album, one that could only be achieved years of experience and a strong artistic vision. It doesn’t cover much ground, thematically speaking, but with the assistance of an army of enlisted writers, ‘AGT’ focuses on what Davido does best: make catchy bops.

From the controlled chaos of “Sweet in the Middle”, which oddly but successfully paired the velvet-voiced WurlD with Naira Marley and Zlatan, to the slinky groove of “Green Light Riddim”, ‘AGT’ is an outstanding portrait that captures what Davido represents at his core: a pop star. While they worked well within the album format, even the “deep cuts” on ‘AGT’ comfortably had the potential to be big singles if they got adequate promotion. Of course, being one of the biggest artists around, no Davido release would fly under the radar, but he’s fashioned himself into a savant of hit songs, and he had no shortage of them on ‘AGT’. I mean, this is an album with over a billion streams and counting.

With its reception and undeniable success—as well as the impact of Covid-19—it’s difficult to feel like Davido is doing ‘AGT’ a disservice by dropping ‘A Better Time’ less than a year later, especially when you consider that the new album is being marketed as a sequel to the sophomore. Much like its predecessor, there’s very little to project that ‘ABT’ will have any other concept except reflecting the great life Davido is currently living. Earlier this week, the singer unveiled the tracklist for the album, revealing a star-studded line-up of international guests including Nas, Young Thug, Nicki Minaj and more. It’s representative of an artist who has gone beyond living the good life he extolled on his previous body of work.

‘ABT’ also pulls in features from a continental cohort that includes Sauti Sol, Mugeez, Mayorkun and more, providing further proof that Davido has his feet firmly planted at home, even with his global-facing agenda. Above all, though, every indicator points to an album that reflects Davido’s obsession with dishing out hits. Lead single “FEM” became a protest chant during the #EndSARS protests, a song that was clearly crafted to be a silencing screed aimed at haters, generally speaking, and a scarcely veiled rival, to be more specific. Its instant ubiquity and eventual, unwitting use is testament to Davido’s ability to turn anything he sings in that gritty voice, into something memorable.

In his viral interview with Bounce Radio Live, hosted by Ebuka Obi-Uchendu, I lost count of how many times Davido quipped that he had a boatload of hits in the tuck. Usually, having a single-track mind to only make hits—hits that have afropop at their core, to be more specific—can be harmful to artists, but not Davido. While he’s known to work his singles through traditional (radio & TV) and digital channels, it barely ever seems like he’s trying to force his way into a hit. In fact, the more experimental he gets, the more he flounders. He thrives on being supremely proficient at who he is, a pop star who makes music for mass consumption.

‘A Better Time’ is bound to benefit from the innate understanding and use of Davido’s quintessential pop superstar qualities. With ‘AGT’, he figured out how to curate an album which didn’t dampen his rep as a premium singles artists. This upcoming album is set to be the second act of that showcase; he’s done it before, there’s little to prove he can’t do it again on a bigger and better level.

Pre-save ‘A Better Time’ here.

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

ICYMI: DAVIDO & THE SIGNIFICANCE OF LEAKS AND PIRACY IN AN INCREASINGLY STREAMING WORLD

London native, Zilo is embracing the ‘new normal’ of live shows

Posted on by The Native

It’s a wet day in England’s capital, yet fifty or so masked-covered faces sit entranced on an East London rooftop, convened by Boiler Room x Ballantine’s as they launch their new global series, In The Round, that brings back live music both IRL and online. Our gazes are fixed upon an alternative singer and London native, Zilo. Though her bright green hoodie (which is styled with a black gilet, black pants and topped off with green and white trucker cap) is simple enough, her captivating vocals and suspiciously fitting lyrics keep the COVID-compliant seated audience transfixed.

If you are a lover of Boiler Room x Ballantine’s True Music events, the stark contrast between the socially distanced In The Round event held last month and the characteristic Boiler Room raves would certainly take you a moment to get used to; but for Zilo, the intimate setting was a space of sincere comfort. “I quite like that intimate, intentional sort of vibe anyway,” Zilo tells me as I asked of how the implications of the coronavirus regulations affected her performances.

Unlike the “rock on” hand gesture that emerges as Zilo’s default response to the camera would suggest, Zilo is an unmistakable introvert. As such, the rising singer’s didn’t plan for too many performances this year, meaning, in terms of performances at least the year the pandemic had in store for her didn’t look much different to the calendar she had prepared. With only one show planned (and then, of course, cancelled), Zilo’s first post-lockdown performance was the ideal set up for her. Considering this show was so far from Boiler Room x Ballantine’s regular programming Zilo doesn’t fail to appreciate the stars aligning and the perfect timing, she asks me, “what are the odds that the time I get asked to do this sort of a show it would happen in a time where there can’t be a lot of people, so it would end up fitting my vibe?“

“But I don’t know… I think they did a great job at still keeping that sort of vibe alive whilst showing you can adapt and make something positive out of everything that’s going on,” Zilo continues, congratulating the Boiler Room x Ballantine’s team for pulling together socially distanced crowd of 50 in-person viewers as thousands tuned in from all over the world, via an exclusive Zoom link for a live viewing of the show.

Within the music industry, the live performance circuits have been one of the most affected sectors, emphasising a need for us to reimagine how live shows will be hosted in the future. With In The Round, coming after the Boiler Room x Ballantine’s ‘Streaming from Isolation’ series – an initiative that financially supported 20 music collectives globally, allowing them to stream their sets to worldwide audiences from the comfort of their homes, during the height of coronavirus restrictions – the club culture maverick’s, Boiler Room and the whisky brand, Ballantine’s continue to provide a template for how things could be done – how communities could be reunited and re-empowered – in our dystopian future turned present.

Not unlike Boiler Room’s typical structure, that sees talent surrounded by their fans, friends and communities in a setting so intimate (regardless of capacity) the three melt into one,  In The Round similarly offers the personal 360 atmosphere Boiler Room is renowned for… but like, make it COVID. In addition to the live show and stream, Boiler Room x Ballantine’s shared the individual performances – Zilo was followed up by the well-established international star, Mr Eazi – to extend the community of viewers even further than those privileged enough to attend. Overall, the event’s multifaceted approach to engaging an audience and cultivating a community from live music – Boiler Room x Ballantine’s forté – proved a successful one. But even before the favourable outcome, Zilo was more than eager “to be a part of something that [is] the new wave of how shows are gonna be.“

Finding “cool and interesting ways to connect with people and uplift people man, because these times are quite tragic for a lot people, so just keep everybody in good spirits so we can just keep it pushing and keep it moving,” is how Zilo tells me she is going to spend this second lockdown period that has commenced in the UK. Ironically, that’s exactly what she did when she graced the slightly raised Netil 360 stage to deliver one of the warmest embraces of the pandemic’s disruptive ‘new normal’.

Opening with a sentiment so antithetical to the one shared by the world as we all endured our different countries’ lockdown rules, Zilo introduces her audience to her stunning vocals through the words, “I don’t want to go outside.” Also the title of the song, Zilo reveals that this record (as well as all the records she performed) was written in January, before she had any knowledge that her wish would be granted in the most horrific way. “I’m just led by my mood, and at the start of the year, I was just in a mood to creatively express myself in that way,” Zilo says, explaining the antisocial line that runs through the singles she performs at the show, “[it] was quite good, as well, because when everything started locking down, couldn’t really travel, it meant that I couldn’t access studios anyway.“

With a bank of unreleased music already at her disposal, Zilo spent her early quarantine days making music with her collective Play Nice, recording on her phone given the lack of access to studios. Once her mood altered, Zilo “chilled for a bit, did a lot of other life stuff and just painted, got back into a little bit of painting,” artwork which she has displayed all over her room to the extent that her four walls could be mistaken for a gallery. But, as you’ll hear in the live performance video available on YouTube now, even Zilo, an introvert who is unapologetically “antisocial for the winter” found herself missing the outdoors, craving a sense of community engagement after the months too many in relative isolation.

In our chat over Zoom, Zilo mentions Social Media as an important tool for her connecting with people, from her fans, to her friends and even the not-quite-love interests she chastises on the second single she performs, “Weird”. More upbeat than “I Don’t Want To Go Outside”, “Weird” would normally see listeners jump to their feet, however, given the UK regulation against dancing, we remained resigned to bobbing our heads and swaying in our seats. Though standing would be the ideal position – which the Zoom audience obviously took advantage of – “Weird” and the mellow hip-hop number, “Lights Out”, which Zilo performs a little after, exemplify the style of music that has soared during this crowdless period.

Laidback bops have been given free reign over the stay-at-home mandate, but with Zilo offering such an enjoyable performance, aided by the Boiler Room x Ballantine’s True Music platform, Zilo is showing us that, when performance circuits open up, there is still room for mellow music on mainstream stages. It is the ‘new normal’, different to Boiler Room x Ballantine’s performances that have preceded it, but nothing felt unnatural about Zilo’s In The Round set. As Boiler Room x Ballantine’s True Music tours the world, with series’ in South Africa, Brazil, Spain, and more, we’re hoping to see the music that lulled us through the lockdown continue centre stage.

Image Credits: Vicky Grout/Boiler Room x Ballantine’s

To find out more about Boiler Room x Ballantine’s True Music presents In the Round, head to truemusic.boilerroom.tv. And check out Ballantine’s social via, Twitter, Facebook and Instagram

ICYMI: WE SPOKE TO SOME WIZKID FANS ABOUT ‘MADE IN LAGOS’

NATIVE Exclusive: Olamide breaks down his new album, ‘Carpe Diem’

Posted on by The Native

On October 8, 2020, Olamide, one of Afropop’s most ubiquitous voices put out his eighth solo studio album, ‘Carpe Diem’. On the same day, online agitations against police brutality in the country had begun to escalate into full-blown protests. Already dedicated to lending his voice to the clamour for an end to the government-backed epidemic, Olamide continued to assist in the good fight, which meant promotion efforts for his new album took the backseat.

“I don’t regret the timing of the album, not one bit”, he proclaims at the beginning of our conversation. The reason is two-fold: He understands that the fight against police brutality and injustice takes the highest precedence; and he’s confident that he’s created an outstanding body of work that will endure the momentous events surrounding its release. “The album is a masterpiece, it’s timeless. Yeah, things started happening when I dropped the album, but I believe in my work and my work is going to speak for me.”

Olamide’s conviction is manifesting. ‘Carpe Diem’ has been positively received and widely praised, even with the dark cloud of EndSARS hanging over it. Loaded with colourful production choices, the project is a groovy affair that melds Olamide’s abilities as a diversely skilled artist and proven hit-maker into one of the more remarkable albums of the year. Earlier this year, the street-hop legend put out ‘999’, an EP that predominantly showcased his formidable prowess as a rapper. This time around, he expands his delivery format to emphasise his reinvigorated pop sensibilities, a tenet that he’s helped him climb and remain on the Mount Rushmore of Nigerian music.

In a glaring way, ‘Carpe Diem’ is a statement from a veteran who has the mindset of a freshly minted artist. For Olamide, he’s hit the reset button on his accomplished career, explaining that the creation of this new album has only renewed his wholehearted love for music. “Omo, me I be new artist o, set awon Omah Lay ati (and) Fireboy”, he jokingly quips. With ten overall projects already in his sprawling discography, it’s a statement that reaffirms his commitment, and this definitely reflects on the album.

Throughout the 12-song project, he tries on new sounds for size, without sounding like he’s trying too hard to fit into the times. To be clear, Olamide has never sounded out of touch. It’s the latest high point in a prolific, decade-long streak, a concise project brimming with multiple repeat-worthy songs. While several songs are still finding their feet, popularity wise, the Omah Lay-assisted “Infinity” has jumped to the front of the pack as the biggest song off ‘Carpe Diem’, topping the local Apple Music chart for three straight weeks and recently entering the inaugural TurnTable Top 50 charts at number 7. On an international scale, the song was the biggest song on Audiomack last week, and it’s the soundtrack to a widespread meme mocking the outgoing U.S. President.

Over our Zoom call, in a bid to get into the rapper’s mind during the album’s creation, Olamide explained the process behind ‘Carpe Diem’, while also giving insight into other related questions. Our chat, which follows below, has been lightly edited for clarity.

NATIVE: “Another Level” sets a self-assured tone for the album. I’d like to know where you get your validation from?

Olamide: I feel like the key thing in life is being realistic with yourself, and being your own critic. I take my time to listen to my stuff, over and over.  Sometimes, before I drop a project, I can listen to it repeatedly for like a month just to make sure I’m putting my best self forward. I’ve always been like this, it’s not that I’m just bragging but I believe in my handwork, I believe in my creativity, I believe in myself, and I know that I wouldn’t come this far if God never wanted it. I believe God ordained it, it’s destiny, so no one can change it. That’s why I don’t bother about what people say.”

How did you choose “Greenlight” and “Eru” as the pre-album singles?

Bro, I swear I was confused, I didn’t know which song should go first. I wasn’t sure, I just kinda selected randomly. Also, “Eru” is a bit connected to my sound from the past, the likes of “Eleda Mi” and “Don’t Stop”. As much as I knew most of the sounds on here were new, I still wanted to make sure the transition from the Olamide Baddo to the new Olamide is smooth.

“Infinity” has been really huge, how did you figure Omah Lay would make sense on this song?

I just knew a joint effort from Omah Lay and I was going to bang, that’s why I called him up to come and make magic. It’s not like I had a beat in my mind or I recorded before he came, we made everything from scratch with the producer, P.Priime. He selected the beat, he did the pre-hook and laced the hook. I was like, “this is dope, I’m going to send you the track when I’m done”, and he refused to leave without hearing the full song, so I had to drop that verse instantly. I loved that process, and Omah Lay is dope. Big ups to P.Priime for engineering and arranging that song.

P.Priime produced the major bulk of this album, what struck you about his sound?

His sound is heavy, man. It’s bonkers. That guy is mad! Like, really mad.

I think “Triumphant” is the centrepiece of this album.

I swear to God, you’re right. When we started the session, I just wanted to vibe Bella; we also made this record from scratch. When Pheelz was lacing the beat, it didn’t sound like something I wanted to take to the club or to the street, I felt we should something very personal and real, because the strings playing under felt very emotional. I came up with the lines of the hook, but I didn’t feel like there was no need to sing when this bad guy was in the room with me, it would’ve felt very odd. Those strings hit me differently, I had to just tell my story about things I’ve been through down the line, because I’ve seen comments about how Olamide slowed down and all that. I needed the message to be out there, because I’ve been going through a lot of stuff and it’s been showing in my work, I just had to be open.

That verse is powerful. Do you ever think rapping it Yoruba will reduce the number of people it will reach?

I feel like music is a universal language, and it will always get to where it’s supposed to get to. For instance, most of us didn’t understand French, and we were banging Awilo Longomba like crazy in the late ‘90s and early ‘00s, man was doing stadium-packed shows in Lagos. I don’t think language is a barrier, as long as it is appealing to the ears and healing to the soul. Good music will always fly, regardless of what language it is performed in.

I like that you used Awilo Longomba as an example, ‘cause you’re not huge in South West Nigeria, but all over the country and Africa generally. Where have you performed that the response was a shock to you?

I’ve never really been shocked, haha. Bro, I don manifest these days for my head since way I before I started popping. When I perform anywhere and the response is great, I’m never surprised, ‘cause I’ve been to countless places, man. The only place wey I never go do show na China, I’ve been everywhere.

How much do you miss live shows right now?

I definitely miss it, like I’ve not been on stage at all this year. At the same time, it’s all a blessing in disguise, ‘cause I feel the world was moving too fast and we needed to slow down, chill, refresh, involve with family more, and take care of ourselves. Health is wealth, no be every time we go dey run for money, we go dey run for flexing; sometimes, we need to take care of the body and soul.

First time I heard “At Your Service”, it reminded me of “Melo Melo”, which I think is one of your best love songs. How did it come about?

I was in the studio chilling, and [ID] Cabasa brought in this beat. When I heard it, I felt compelled to do something unique, ‘cause the beat sounds different from what I’ve done so far. I’m very adventurous, I like challenging myself and trying new things, and I felt the need to do this right. I don’t know where the lyrics and melodies came from, I was just trying to follow the flow of the beat.

What do you listen to in a beat that draws you in?

The bounce and the strings. Simple as that.

“Do Better” has that street bounce. Are you intentional with the direction of a song before you record, or does it come to you?

In most cases, I like to have a direction before going into the studio. Like they say, he who fails to plan has planned to fail. I like to really plan my direction and figure out what I’d like to achieve from each session, but sometimes plans change along the line. But to be honest, almost all the time, I know what I want from the jump. It could be, today I need to get this lamba right, and the next time it can be rap or whatever.

Let’s talk about “Shilalo” with Phyno. Your relationship with him is pretty clear to the public, right?

I feel like we’re from the same world, man. The way he operates his business, his lifestyle and all that is very similar to the way I like to operate and do my thing. I think it’s the similarities that we see in each other that brings us closer, there’s this connection I can’t really explain, it’s just mad. That’s like the Igbo version of Olamide, anytime I see him I feel like I’m seeing myself.

What’s your estimate of unreleased songs you have together?

E plenty o! We’ve lost count.

Do you think you’ll ever do a sequel to ‘2 Kings’?

It depends, bro. I can’t make any promises right now, you know a promise is a debt? Haha.

“Loading” has also become one of the favourites off this album, and Bad Boy Timz absolutely killed on the song. What do you think of him as an artist?

I think Bad Boy Timz is the future, man. We’ve known each other for a while, he comes to me for advice, and I’ve always believed in his time. I felt that this album is not going to be complete without having this dude on the project. When he came in for that session, I just told P.Priime, “you know say two of una na youngin’, so I go just leave two of una to fuck this shit up”. I just left them for like twenty minutes, and when I came in the beat and the hook were ready. We actually recorded two songs that day, the other one we kept it, low-key haha. Timz came up with the concept of the song, he was even trying to guide me on how to flow with the bounce of the song, ‘cause this sound is fresh, I had never really done anything like it before. That’s my brother for life, man.

The way you’re talking about Timz is emblematic of how you constantly ride for artists on the rise.

Yeah, man. I feel like, while coming up, no one gave me that opportunity. I just took it upon myself that, if I blow lasan, I must share my blessings. This blessing to much now, only one person no fit chop everything finish. What’s the purpose of the blessing if you cannot share it around? It’s useless when you just want to be greedy, you don’t want to help in elevating as much people as you can. From the jump, I always knew that there’s a lot of talent around that needs a platform, so I make sure I try to uplift one, two or more every year.

You and Fireboy didn’t have a song together until recently, including this closer “Plenty”.

The two songs sef, na luck. Since when I signed him, we’ve been recording, we probably have like ten songs and we struggled to get it right until recently. That’s why nothing came out since, ‘cause blending his style with mine is kinda very hard. I never thought we could do it, but we kept trying until we got those two.

Were the two songs recorded in proximity?

His album was actually ready, and he just called me like, “Baddo, I need you to jump on this song on the album”. I was very hesitant, I even told him something like, “guy, you know say we don try this tire and e no work”. The fact that he really wanted me to do it, I just had to calm down, take my time and soak myself into Fireboy’s zone. If you listen to “Afar”, the rap is just very chilled, e be like butter. Later on, while I was in one of my own sessions, we did a couple of songs, but I picked “Plenty” out of everything we recorded.

I like the fact that you’re honest about the difficulty of mixing your styles. Does that happens regularly?

I really can’t remember any, it’s just me and this Fireboy own. But another one I’m very aware of, that I’ve never really given a try, is I and Adekunle Gold. It has to be well-tailored and well-structured, or it might end up being a disaster. I really have no idea what a song with Adekunle Gold is going to sound like, but whenever we’re going to do it, we’ll have to take our time, maybe even spend like four months on it just to get it right. I feel like his style is way, way far from what I’m doing, same as Fireboy, but it’s possible.

Did you have any features that you were trying to get on the album?

I had no plans on featuring anyone on the album, initially. The features I wanted are the ones are I got: I badly wanted the one with Timz, me and Phyno is tradition, Omah Lay and Fireboy just made sense. Actually, I wanted to do something with Alaga (Reminisce), but he just dropped a project that period, and I didn’t want to stress him while he was doing his promotion.

Did you consider any international features, since you’re now in partnership with EMPIRE?

For me, I don’t like to stress things like that. I believe in proper connections, it’s not really about the numbers for me, it’s about making good music, something that can stand the test of time. If I’m going to do anything with anybody, we really have to connect, the person gast be my G. I’m not trying to chase anybody, it really has to be as organic as possible. If anyone holla at or I connect with anyone, then I’m definitely open to collaborating.

Do you ever indulge in ranking your albums?

Yeah. Sometimes, I and my manager will play around, but it’s not that serious. I think I’ll put ‘Carpe Diem’ in my top two, with ‘Baddest Guy Ever Liveth’. This album is a masterpiece, and my work is clearly speaking for me.

Listen to ‘Carpe Diem’ here.

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

READ OUR 1-LISTEN REVIEW OF OLAMIDE’S ‘CARPE DIEM’

Listen to ‘The Angel You Don’t Know’ by Amaarae, Now!

Posted on by The Native

Amaarae already achieved diva status before her debut EP, ‘Passionfruit Summers’ showed off her ability to sit comfortably across a range of different soundscapes. “Whoa!”, the song that became her breakout in 2017, was actually AYLØ’s song. But she stole the spotlight with her captivating performance that radiated a blithe coolness, a stark contrast to the new acts of the time that were more empathically and emotionally available.

While her EP, ‘Passionfruit Summers’ established the Ghanaian singer’s Pan African fan base, the trickle of new music she featured on in the interim—a major hit with Santi‘s “Rapid Fire” and her impressive guest verse on Odunsi’s “Body Count”—maintained her momentum. Three years after the EP, Amaarae commenced rollout for her debut album, ‘The Angel You Don’t Know’, with two lead singles, a timely self-isolation anthem, “Leave Me Alone” and an experimental afropop number, “Fancy”. They built fans’ anticipation for the 14 track album which is finally in our hands today.

 

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‘The Angel You Don’t Know’ is a collection of sophisticated Afropop that gradually gives way to slick and dreamy dancehall tracks. Anchored by the sexy hip-hop bounce of the lead single, “Fancy”, all 14 tracks capitalise on a love of 80s pop and 90s club culture to deliver the type of retro-pop revival that can lead to a culture reset.

Amaarae is joined by a diverse team of producers, Gothic Tropic, Haze, KZ, Rvdical The Kid, Aywy, Kuvie, Kyu Steed, John Wav, Jesse Alordiah, Yellow Shoots, DOZ, Yinka Bernie and Yinoluu who dug deep into their bag, evoking different eras of flashy dancefloor nostalgia. Also, with guest verses from Odunsi The Engine, CKay, Cruel Santino, KZdidit, Kyu Steed, 6, Maesu, Kojey Radical, Moliy, Princess Adjua, and more, Amaarae’s breathy voice serves as the mainstay that gives the tape a cohesive sound as she craftily explores hip-hop, R&B, Afropop, Caribbean dancehall and everything in between. The thrill of ‘The Angel You Don’t Know’ is in hearing Amaarae tailor the different sounds of the dancefloor to suit her commanding erotic attitude.

You can stream ‘The Angel You Don’t Know’ below.

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

ICYMI: Revisit Amaarae’s conversation with NATIVE ahead of the release of her debut EP, ‘Passionfruit Summers’

6 Young Nigerians on how music helps their heartbreak

Posted on by The Native

Music has innumerable benefits. More than an enjoyable listening experience, we’ve seen the power it possesses in boosting our confidence, realigning our faith with God, and even getting through a really difficult lockdown. Suffice to say, that music is the go-to for many of us when we’re feeling low, and time and time again, it has proved useful in providing some comfort, no matter what you may be feeling. It’s no surprise then that music is also a really helpful tool for mending a broken heart even though evidence since forever shows that relationships usually always end in tears.

Back in 2011, Drake accurately summed up relationships and dating in our generation when he sang these relatable words on “Doing It Wrong”: “We live in a generation of not being in love and not being together/But we sure make it feel like we’re together because we’re scared to see each other with somebody else”. Where our parents’ generation was generally forthcoming and straightforward about courting with exclusivity, our generation is more commitment-phobic, and as we’ve come of age have managed to rewrite the language of relationships to suit the times, and that definitely has a lot to do with technology and choice.

I’m no relationship or expert or anything, but to me, it seems like growing up with the Internet has made it such that our lives are endlessly cascading from one moment to the next. Everything we consume on a daily basis is bite-sized, from 10 second long videos to songs are barely hitting the 2-minute mark and things vanishing after 24 hours, and it seems like we have become accustomed to instant gratification in all walks of our lives. As a result, relationships have also taken a hit and we’re less likely to give ourselves entirely to the process for either fear of getting hurt, or a ridiculous need to always have one up on everybody around you. As the music and entertainment, we consume are made by other people like us, it also means that these biases are being confirmed in what we surround ourselves with, and most of what we hear and see tells us to keep our guard up when it comes to love.

Clearly, this isn’t a very clever ploy and from what today’s discussion on the timeline has shown us, it’s that we all do have feelings that need to be explored and satisfied, and there’s a dissonance between how we want to present ourselves and who we really are at the core. On social media, the language is one of openness and people are not afraid of sharing details of their intimate and private lives. These platforms make us feel less alone in the struggles that come with maintaining romantic relationships today and that’s why every so often, there are topics that unite everyone on the timeline from different parts of the world. Following today’s topic about heartbreak and its effects on us, I began thinking of all the times that music had got me out of a tight spot when it came to matters of the heart and artists who had been forthcoming with how their experiences with heartbreak had helped them peak creatively. Listening to music that represents a sliver of the pain you’re experiencing can be an incredibly moving experience, and sometimes it can sound like all the good advice your friends could tell you in one song.

There’s no shortage of music that can speak to the core of your being and make you feel seen in your low moments. On one hand, you get female rappers like Megan thee Stallion, Flo Milli, Shaybo, and Mulatto, give you the same confidence boost, priming you with lyrical ammunition to guard your heart against these fuckboys. On the other hand, you have the Jhene Aikos, Snoh Alegra, and more who’s lyrics can help you pick yourself back up after a bad breakup, giving you the courage to brush off your tears and get back to feeling your best and strongest self in your lowest moments. Listening to an artist like SZA or Summer Walker, your most toxic feelings are instantly brought to light, with lyrics such as ‘Got myself caught in your cross fire, you a wild one, and I am wading in you like it’s cool water, like it’s cool when I see you pull up with that new and it’s not me’ from SZA’s “Hit Different” or ‘boy, you know I love you, and everything you do and I just can’t quite understand it, but love makes sense of you” on Summer’s “Drunk Dialing” – I don’t think I need to explain, I’m sure anyone can relate.

On the flip side for the #other gender (aka the opps) there are artists such as Future, Drake, Bryson Tiller, Brent Faiyaz, and more, who give us women a pretty good idea of how the typical fuckboys think within relationships, whilst making the real-life opps we face feel validated in their behaviour. With lyrics bent on emphasising the jaded detachment that comes with toxic masculinity, this music presents the reality of dating to us, and showing us the feelings we keep trying to surpress. Nobody can convince me that Drake isn’t a supervillain and if you’re doubting it, just consider the premise of “Marvin’s Room” again with a critical ear. Drake has drunk dialled an ex who has moved on, and is telling her she can do better, asking her what she’s doing that’s so important when she declines his invitation and also informing her that he’s had sex 4 times in a week… whew.

From r&b to hip-hop/rap, there are artists who speak to the experiences that we’re all going through; whether that’s as the person doing the heartbreaking – as Brent Faiyaz sang “I got too many hoes but they ain’t you” – or the one getting their heartbroken.  To this end, the NATIVE spoke to six young Nigerians about how the soundtrack to their last heartbreak and how they feel about getting into relationships in the future. From listening to Diddy’s “Ass On The Floor” because it makes them feel like a bad b*tch to rediscovering their love for the High School Musical soundtrack and Charli XCX, here’s what members of our community had to say.

M, 23, M.

Quality of dating overall: 0/10

Frequency of dating: I’ve not had a proper relationship in the Lagos scene but I’ve had one situationship in the last year.

How happy they are with their dating life: Honestly I don’t know how I feel about it at the moment, I haven’t thought about that

Go to break up music: Future’s ‘Save Me’ album.

M, 22, F.

Quality of dating overall: For me, I’d say 0/10 lmao. My life is boring as hell.

Frequency of dating: Honestly very low, and I think it’s cause I barely go out so I barely meet people.

How happy they are with their dating life: Very unhappy lmao. I’m not mad about being single, but sometimes you just want your own person. Plus harmattan is coming, so I need a cuddle buddy.

Go to break up music: I usually suppress my feelings and focus on other shit. They give me a couple of nights for a big cry. So I play music that reminds me of that person during those crying ceremonies lol. I always feel better after I cry though. I still haven’t been able to listen to Jhene Aiko’s “Triggered” for some reason.

N, 21, M.

Quality of dating overall: 6/10 as a gay man, it is also heavily influenced by access, financial power and your social circle.

Frequency of dating: 2/10 from my own perspective.

How happy they are with their dating life: I’d say I am content being single. I am a bit more aware of what I am looking for now than I was some years back. On a good day, I am able to take it in stride and be very practical with it. But because I have an anxiety disorder, it is often hard to stay practical and remind myself of necessary truths that can help me heal from loss.

Go to break up music: Mine were Mitski’s “Nobody” and IDER’s “Mirror”. I don’t listen to them very often these days as I am trying to discover new music, but they still mean very much to me as they represented interesting times in my life.

W, 23, F.

Quality of dating overall: 5/10

Frequency of dating: 2/10

How happy they are with their dating life: 1/10. Heartbreak sucks and makes me want to die, especially when the person that breaks my heart is somebody that loves/loved me.

Go to break up music: Music does not help me move on, it just helps me feel better in that I don’t feel as stupid since others have gone through it, and I know that I’m not crazy. I listen to anything and everything. Songs that I definitely should not be listening to I put on repeat. Song with memories, I don’t mind listening to. I don’t really care for what is good and healthy for me emotionally, I do whatever I want and if it hurts then it hurts. I’m super self-indulgent during heartbreak.

S, 25, F.

Quality of dating overall: 6/10

Frequency of dating: 3/10

How happy they are with their dating life: I am happy with my dating life because at least no one is cheating on me anymore. I had really poor self-worth when I was growing up and I tended to be in toxic relationships where they obviously didn’t care about me. Though I’m sad I’m not with someone, I feel at peace knowing that I learnt so much to get to the stage I am now. I am content with everything.

Go to break up music: Okay, so don’t judge me but I had to revisit the High School Musical soundtrack for my most recent heartbreak. I was always listening to 21 savage and the City Girls trying to activate my thug, but then I remembered back then how the HSM soundtrack be hitting. So I went back and let me just say that you can’t listen to songs like “Walk Away” without shedding a few tears and I’m a sucker for a good cry. Also, I rediscovered Charli XCX’s music and it’s the perfect upbeat remedy for heartbreak, I guarantee that.

https://www.youtube.com/watch?v=lHU67YyHdOM

K A-J, 25, F.

Frequency of dating: 2 months after my break up I started dating again and it’s been pretty consistent since then but it’s just casual. I’m very cautious about my feelings now.

How happy they are with their dating life: It’s good I’ve been going on dates some people I get on with more than others.

Go to break up music: Adele’s “Make you feel my love”. This was my go-to when I was younger because I was in quite a few relationships where I felt that I had a lot of love to give but the love wasn’t reciprocated. Also Diddy’s Dirty Money “Ass on the floor”. This is the song I listen to when I want to remind myself that I am still a bad ass bitch and these niggas ain’t shit haha.

Featured image credits/HuckMagazine

Tami is available here @tamimak_

ICYMI: How music can help increase your self-confidence

Wizkid & Burna Boy’s “Ginger” makes history as the first No. 1 song on TurnTable Top 50 chart

Posted on by The Native

In just over a week since release, Wizkid’s ‘Made In Lagos’, has dominated music-related conversations. The superstar’s long-awaited fourth studio album came out on the back of sky high anticipations, and it’s clearly delivered on those stakes, reeling in an overwhelming amount of positive reception. To further verify the album’s commercial impact so far, “Ginger”, the Burna Boy-assisted fan favourite, has now made history as the first number one song on the inaugural edition of TurnTable’s Top 50 chart.

Announced last week, the top 50 chart aims to be the authoritative representation of the most popular songs in Nigerians, compiling numbers from radio airplay across 54 stations, TV airplay and all-genre freemium streaming platforms—i.e. Audiomack, Boomplay, YouTube etc. Initially launching its airplay charts in July, with data sourced from Radiomonitor and Media Planning Service (MPS), TurnTable charts has been building its rep as the go-to place for reliable, data-driven information about the most impactful songs in the country. So far, TurnTable has launched the Top Streaming charts and Top Triller chart, however, the Top 50 charts is its most monumental undertaking.

In its inaugural week, Wizkid dominates the Top 50 chart, which comes as little surprise after TurnTable announced that he had the biggest debut by an album on YouTube NG. Impressively, all fourteen songs on ‘MIL’ make this week’s chart, and even more impressive is that four of these songs are in the top ten of the chart. In addition to “Ginger”, “Reckless” (3), “No Stress” (4), and the Damian Marley-assisted “Blessed” (10) are in the top 10.

Keeping the top five from being a Wizkid monopoly, Davido’s delightfully abrasive and unwitting protest anthem, “FEM”, slots at the number 2, while “Zoom” by fast-rising artist Cheque is at number 5. Also in the top 10 is Tems’ “Damages” (6), Olamide’s “Infinity” (7), Patoranking’s “Abule” (8), and the newly released “Icons Remix” of DJ Neptune’s smash song, “Nobody” (9), which features recent Big Brother Naija winner, Laycon. This week’s edition of the Top 50 charts is largely populated by songs from Nigerian artists, with non-Nigerian entries including Drake’s “Laugh Now, Cry Later” (25), Ariana Grande’s “positions” (40) and more.

Strictly focused on listening and airplay trends in Nigeria, the TurnTable Top 50 charts is set to always reflect the most impactful music in the country on a weekly basis, with Fridays marking the beginning of its tracking week, which closes the following Thursday. As a resourceful tool with huge potentials, this chart, along with other platform-specific charts, will give definite insight into the commercial activities of Nigerian music within the country’s shores, which is a huge plus for a music industry that’s still growing its capacity.

You can take a look at this week’s full charts below.

TurnTable Top 50 charts (Oct. 30 – Nov. 5)

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

ICYMI: WE NEED TO TALK ABOUT AFROBEATS

A 1-Listen review of Amaarae’s ‘The Angel You Don’t Know’

Posted on by The Native

Back in July, Amaarae came out with a delayed first single of the year, “Leave Me Alone”, a characteristically Gen-Z self-love song that emphasises protecting your space in a blunt, unapologetic way. Since “Leave Me Alone”, Amaarae has been prepping fans for her debut album, ushering out a ensorcelling music video to the lead single, followed up by a second promotional single, “Fancy”, which was also accompanied by a striking music video. Over the months, Amaarae’s build up has gotten more than tantalising, leaving fans and critics eager for today, the final release if ‘The Angel You Don’t Know’.

Sharing links to the album via her finsta over the past month, Amaarae has continued to whet fans’ appetites, and ultimately piqued our interests when the tracklist was released a few days ago. Bouncing with features from familiar names like Santi, Odunsi (The Engine) and Kojey Radical, Amaarae also promised to introduce us to fresh meat on the album. With KZ and Rvdical The Kid handling most of the production, from the promotional singles and “NASA” which appeared on Rvdical’s ‘Little Planet’ EP a couple of months ago, the tracklist also gave us a good indication that the beats on the project would be super hot.

Our expectations were justifiably high. Amaarae is one of the most exciting young African creatives, with a unique voice and an unmatched savvy when it comes to making music. Her playful, unaffected, accessible character – on full display right from the album’s witty song titles – also makes Amaarae that much more loveable and so easy to stan. So, justifiably, my expectations for ‘The Angel You Don’t Know‘ were high. Read my one-listen review to find out just how well Amaarae lived up to them, as you listen to ‘The Angel You Don’t Know‘ here.

“D*A*N*G*E*R*O*U*S”

Okay, I love this intro – very gritty! I feel empowered already! Bring on Rock and Roll Amaarae!

“FANCY”

Yes to this garage-band fuzz! I love this beat, omg! Haze and KZ finished work, excited to see KZ has more on this project – promise of more heat.

Amarae is the best rapper I Africa. I love her in her trap bag. Let me not say trap before I get dragged on the bird app again. Okay, I appreciate these light adlibs dropped in there, who is responsible for this? KZ again? I feel so darn fancy. Bring back Amaarae, o! I don’t mind this 6IX outro but I want to hear my queen for another verse. “Fancy” actually makes for a really great opening song!

“FANTASY” ft. Maesu & CKay

The mood has dropped significantly with these chimes on “Fantasy”, but in a bad way. I am getting ‘Passionfruit Summers‘ throwback vibes from this production and her whisper-like vocals. This reminds me of “Sunday” with the male feature as well.

I love a good duet, but I can’t tell how I feel about this one. I’d prefer if their vocals were more refined, it just feels like a lot of… I think CKay is the highlight of the song. Feeling the party shouts mixed into the background. The chorus catches on the second time around, but my thoughts on the duet are confirmed; duets should be reserved for proper singing (think “Lovely” Billie Eilish ft. Khalid), not the raspy kind of vocalisation going on here.

“LEAVE ME ALONE”

Oya, give them. Another production that feels like signature Amaarae. I haven’t even been keeping up with the lyrics so far, but I absolutely love the bars on this record, likely because this has been my mood this entire year. Okay, Amaarae is the best rapper in Africa, I love how she does it! I like the contrast between the loud pop chorus and the mellow, contemplative pre-hook – it feels like she is actually shouting at people to leave her alone after building up to the vex.

“JUMPING SHIP” ft. Kojey Radical & Cruel Santino

I am so excited for this track, because, Santi. I was not expecting it to be a mellow number, feels very R&B, I wonder how Santi will get on it. Okay now I get it, from these drums on the chorus. Okay, Santi is giving VOCALZZZ. I really dig this guitar, sounds like Starro and Joshua Moszi have some bass and acoustic(?) going on between them – lovely. The guitars are the best part of the song, in my opinion. I love the chorus by the way, “you gon’ make me leave the one I’m with, Jumping Ship” – I like everything toxic and this sounds just that.

“FEEL A WAY” ft. Moliy & Princess Adjua

Listen to those claps, she’s getting down with the afropop, I love this for Amaarae! The voice on the second is soo excellent, I am so impressed! I think this is Moliy but she’s so similar to Amaarae, if so. I love how the beat has completely changed up, it stripped during the first half of the second verse and came back with a whole new flair. I like this a lot, it feels like a low maintenance dance song – feeling a way for real. These girls are like Totally Spies, a true force!

“TRUST FUND BABY”

From this title I am expecting a banger. Okay, so this is not the up-tempo record I was expecting but this feels rich, I’m getting wine glass bubble bath, white cotton towels. Okay this is so hot! Haaaa, I love these lyrics!! Trust fund nigga eat this pussy please, spoil this pussy please!

“HELLZ ANGEL”

Ooh, I love this melody, it plays, to me like a mature nursery rhyme. This is my favourite song so far and I’m only 18 seconds in. I will get my mama a Bentley AMEN! I said Amaarae is the best rapper in Africa!! We will make it AMEN! I’m playing this song on loop to manifest. I love the oxymoron in the name and the juxtaposition of this prayer for wealth, but like from hell! This song so playful and is quintessential Amaarae to me – another reason why I love the name, totally her. “I don’t make songs bitch I make memories,” ooof. She is truly in her bag! Wow, what a powerful ending as well.

“CÉLINE” ft. Kyu Steed & 6

Another formidable beat, Rvdical The Kid sabi work well. I love this chorus. This song is incredible, the harmonies, Amarae’s melody – all perfect. “I don’t really do feelings yet, but you getting kind of thick” – hell yah! I like that brief interjection of Kyu Steed verse, but I wish Amaarae took this one solo. I see this being a crowd favourite. I love this studio cut at the end! That was cute.

“DAZED AND ABUZED IN BEVERLY HILLS”

She really took it to Beverly Hills with this one. I love the names on this project. Ahh, this is really a pop tune, but it’s an interlude? Oh I really wanted to hear more of that. Let’s pressure whoever for the full ps please!

“SAD, U BROKE MY HEART”

Oshey, Mama Africa. This feels a lot more like afropop than all the other records. Maybe it’s Moliy’s influence. The “winiwana whine your waste” chorus is a big part of that but also thanks to DOZ who’s on the beat. It’s short, but the perfect length I think. To be honest, the album could have done without. Considering the title and the TL topic today, I wish this song went harder, but ah well.

“3AM”

Is this an alarm sound or am I tripping because of the title? Actually sounds a little like a lifeline. Yoruba Amaara? Emi ati iwo? Tiwa Savage (“Sugarcane”) reference? Ok, now she’s doing a multiple part harmony. Is Amaarae is really in love? Unfortunately, I relate. “Hold me down, you won’t regret it,” guys beg my last ting I want someone to hold me down at 3AM.

“SAD GIRLZ LUV MONEY” ft. Moliy

Amen to “dollars all around.” This is another number manifesting wealth into her life. Amaarae is all about the money, she loves love too but none of that detrimental shit. I want to get into Moliy’s music a bit more, she and Amaarae have great synergy, I can hardly tell who is who – even on “FEEL A WAY” – the major distinction I can hear is Amaarae’s American proclivities. Another amazing close to the song, I like how abrupt and not dilly dally, not lurking her songs are at their end.

“PARTY SAD FACE”/”CRAZY WURLD” ft. Odunsi (The Engine) & KZ

I love this breezy production, feels like ’17 Amaarae, which is fitting, to me, because she’s also got Odunsi on this record and I discovered them both #thatyear. I love this reverberated tag team between on the bridge. The Engine brings forth the vocals, his voice has really improved over this past year, love that for him. Considering the sombre topic of his verse, that acts as the “SAD FACE” to Amaarae’s “PARTY”, a strong voice is definitely needed to convey the vulnerability he’s going for with these lyrics.

Okay, excuse me what is this? Ohhh this is the “CRAZY WURLD” and it’s a made one indeed. This is phenomenal. What an outro!!!!! Goodness, that was perfect. Mood lifted, ‘The Angel You Don’t Know‘ on a HIGH!

Final Thoughts

Amaarae is rapper of the year. I just love how she does it, she is so so unique! Every different sound she dips into on this album, she reconfigures so they all still sound distinctly her. I am not sure the features were always worth it, there are quite a few and no contribution really wowed, apart from maybe Moliy and Odunsi’s voice and subject. Overall, a great album though; “CELINE” and “HELLZ ANGEL” are my faves.

Songs of the day: New music from Ayüü, Olamide and Omah Lay, dndSection and more

Posted on by The Native

It’s been a while, but we’re now back at it. In a month full of loss from COVID casualties to peaceful protesters being shot at it didn’t feel right to carry on like normal, so we stopped everything to give all our time to the pressing issues at hand, it’s still #EndSARS, but let’s also find a welcome escape from the bleak reality of the world.  Even though it’s all quite overwhelming to take in, music has provided a necessary escape, and throughout the year, musicians have continued to release music that motivates us as a return to normalcy no longer seems certain.

We know it can be difficult to keep up with all the diverse streams of music so we’ve created this column to keep you, our readers, up to date with all the finest tunes coming out of Africa and the rest of the world. These are the songs you absolutely need to hear. We’re resuming Songs Of The Day again to support artists who are providing momentary escape through these strange times, here are our favourite picks this Wednesday.

Olamide – “Infinity” Feat. Omah Lay

According to the TurnTables inaugural Top 50, Olamide and Omah Lay’s “Infinity” has been making rounds for the last 3 weeks. It certainly got a boost after someone being used as the soundtrack for a meme of the outgoing American president, Trump dancing, and now, the pair shared the official video for the standout track from ‘Carpe Diem’, Olamide’s latest project.

The video for “Infinity” was directed by Clarence Peters who also directed the previously released videos of tracks from the album, “Eru”, “Green Light” and “Triumphant”, featuring Bella Shmurda. For “Infinity”, Olamide, Omah Lay, and a few models are captured in several kaleidoscopic frames as the artists perform their sensual lyrics and dance to the grove of their melodies and the P.Priime-produced beat.

TWITCH 4EVA – “Chaskele”

Ghanaian artist, TWITCH 4EVA has just shared the music video for “Chaskele”, one of the standout tracks from his recently released debut EP, ‘Lost’. The track produced by East London producer, Rayf finds TWITCH 4EVA at his genre-bending finest, bridging his coastal harmonies and indigenous Ghanaian dialect with English lyrics and lush r&v sensibilities. His captivating melodies were enriched by heartfelt songwriting, which narrates a romantic story of him trying to convince a love interest to stop playing games; “Quit playing my heart/ Don’t do it like that cause we can’t take it no more”.

He recently shared the accompanying video for the song, directed by Andy Madjitey who sets TWITCH 4EVA and his muse at the Aburi Botanical Gardens in the coastal city of Tema in Ghana. From the scenes of the couple eating at a dining table to them drowning in the ocean, the video uses symbolism to show how relationships can be a rollercoaster ride much like the timeline has shown us today.

dndSection – “Know Me Well”

Last year, dndSection debuted his EP, ‘Loves Lies Bleeding’ and the impressive 8-track tape showed off his ability to narrate introspective storytelling ok celebratory songs. This year, he followed up the tape with singles, “Darling” and “Zaza” which highlighted his versatility through the switch of pace from singing to rapping and it hinted at what’s to come from his promised project. The Atlanta-based artists continue to build anticipation for his coming project with a new single, “Know Me Well”, where he stunts on his haters with brags about his riches.

Hip-hop fans love to flex their muscles on wax, as is evident from the rap battle culture within the genre and dndSection doesn’t hold back his ride tongue, rapping, “Lately I’ve been giving niggas hell/ Your nigga broke and I can tell and I can see you hate yourself”. Though the atmospheric trap beat produced by AJ RMR and 88 Jay is relaxing and melodic, dnd leans into rap’s violent tendencies as he boasts about his gang ties—“I grew up with killers”—and continues expanding his range from the romantic themes of the two singles he released earlier this year.

Tobi Lou – “OKAY” Feat. Dreezy

Chicago-based Nigerian artist, Tobi Lou is gearing to release his new project, ‘Parrish Blue’. He has had a busy year, sharing singles like “Endorphins”, “Student Loans”, “Pretty Much”, “Skin Care Routine” and many more. However, he has just shared a new single, “OKAY” expected to feature on the forthcoming project and he teams up with another Chicago native, Dreezy for the romantic cut.

While Tobi Lou muses about a love interest who’s distant, saying “It’s been a little minute since you fucked with me/ Now you hit me up, what you want with me? I know your style/ I know you wild/ it’s been a while”, Dreezy is more affectionate as she describes her loving relationship with her lover. They both rap over the catchy rap beat produced by Matteo Woods and DILIP and they can both be seen in the lyrics video that accompanied the single’s release.

77Lamarr – “Lost Nights” Feat. Cjjohnny

77Lamarr has shared a new single, “Lost Nights”, the debut single from his upcoming project, ‘My Excuse Is That I’m Young’. The single introduces him as a melodic trap artist as he crafts laidback melodies over the moody trap beat produced by the featured artist, Cjjohnny. “Lost Nights” depicts the unstable nature of young love through 77Lamarr’s narration of his experience with his muse; “First I love, then I curse/ Then we fuck and makeup again”.

Apart from the production of the lightweight beat, Cjjohnny also contributes a rap verse that describes using drugs to numb the pain from love going sour and toxic; “Living in the streets/ she lost it out here/ drowning in drugs/ cause the love ain’t out here”.


Ayüü – “Gawu”

Ayüü debuted “Gawu” last December as the lead single from his 3rd project, ‘Ayüüniverse’. The dance-driven beat was produced by Trill Xoe and Tobay Music, who set the groovy backdrop for Ayuu’s sultry lyrics as they perform the song that can bring a raging dancefloor to a slow simmer for couples to dance to. Though the rest of the 15-track EP was released nearly a year ago, Ayuu has just revived the lead single with a music video, “Gawu: The Movie” which shows Ayuu playing the lover boy persona he describes in his songs.

The video for “Gawu: The Movie” was directed by ShotbyGhst and it opens with Ayüü and his love interest reminiscing about the start of their relationship before they get into a fight and she walks out on him. The music starts when he follows her and tries to charm her with his singing and dancing. His silky and mesmerising melodies prove effective on his muse as she joins in on the dancing to make for an exciting video that confirms the dancefloor appeal of Ayüü’s music.

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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

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The Angel You Don’t Know: What to expect from Amaarae’s debut album

Posted on by The Native

It’s been a long road to get here but the wait is finally over. In just a few hours, Ghanaian-American singer Amaarae is set to roll out her full-length debut LP ‘The Angel You Don’t Know’ via Platoon and we couldn’t be more excited. Coming three years after the release of her EP ‘Passionfruit Summers’, her debut project has already been teased as ‘afro-fusion that’s more upbeat and fuller-bodied than her previous effort’, but still retaining the hallmarks of sonic experimentation she’s become known for with each new release.

From the well-charting solo singles “Leave Me Alone” and “Fancy” released ahead of the project, anticipation is rife for the debut as we’re all wondering which side of the neo-soul princess, we will be getting with the new release. With the 14-track piece boasting of appearances from Cruel Santino, Odunsi The Engine, CKay, and Ghanaian singer Moliy, as well as long-time collaborators like Rvdical the Kid, there’s certainly a lot to look forward to. Ahead of its release, we did you the courtesy of compiling a short guide on what to expect from the album tomorrow.

Here’s everything you need to know about ‘The Angel You Don’t Know’.

 

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1. She’s taking us to church

“At its core, this project is my form of gospel. I’m on a quest to evangelise the people. If you weren’t an Amaarae believer before. You have no choice now.”

Ahead of her project release, Amaarae shared with the NATIVE that ‘The Angel You Don’t Know’ is her form of gospel and she was on a mission to convert everyone who listened to the project to the church of Amaarae. We know she doesn’t literally mean converting us to a church but this is a pretty big statement that gives us high hopes for the type of music we’re about to receive from the singer.

Her music has previously featured touches of gentle organ patterns and vibrant percussive instruments that perfectly couch her breathy soprano voice. Sonically, this project will be a progression on what she’s been doing on her singles and features in the last two years. This instantly brings to mind “Fluid”, a euphoric cut on her 2017 EP ‘Passionfruit Summers’ which was defined by sexual confidence and self-assurance. Just going by the song titles, we won’t be too surprised if numbers like “Fantasy” and “3AM” offer some of this cocktail of sex-positivity over neo-soul ready strings.

2. There will be some dark songs.

In a recent interview with Pitchfork, Amaarae was quoted saying, “Left up to me, the album might have sounded much darker—I did a lot of really dark, dark, dark songs”. The singer also revealed that the album’s direction later changed when she consulted producers and songwriters like KZ and Maesu who helped her give a more well-rounded view of her sonic world. Judging from song titles like “Hellz Angel”, “Dazed and Abused in Beverly Hills” and the oxymoronic KZ-assisted number “Party Sad Face”, we would say there’s still a bit of darkness left in there to work out what’s got our favourite neo-soul princess ready to shed her bubble-gum pop label and get a bit more personal.

We’ve already seen bits of Amaarae’s dark thoughts for a while now. Last year, her single “Like It” was one of her first introductions into the flip side of her mind. In the accompanying video, we saw a younger Amaarae saunter into a mysterious building where androgynous men, sexy strippers, sad clowns, and midgets in cabaret masks, all come out to play. A year later, the bewitchingly vibrant Gianluigi Carella-directed video for “Leave Me Alone” took us on another mysterious psychedelic journey as she tried to escape the real world for the “nightmare” in her mind. It is clear that Amaarae has no problem shocking us.

“I‘m evolving and evolution very often is going to be filled with risk-taking and full of adventure and might get uncomfortable sometimes but I want people to be okay with being uncomfortable.”

3. Something old, something new

There are lots of signs that suggest Amaarae is meshing old and new to create her debut LP ‘The Angel You Don’t Know’. For one, she’s linked up with some old collaborators such as Cruel Santino who makes an appearance on “Jumping Ship” with Kojey Radical. A title that sounds just as energetic as last year’s “Rapid Fire” where the two first worked together. She’s also long-time producer Rvdical the Kid who she’s been working with since her introduction to the music scene. The pair have worked together on numbers such as “Like It”, “Spend Some Time”, “NASA” and more, and are set to work on 6 new songs on the forthcoming project.

In terms of something new, there’s a ton of new names on the project that we’re just dying to hear. We have so many questions about the collaborations we’re already seeing. Like how exactly does an Odunsi the Engine and Amaarae track sound? Who’s Moliy and why have we never heard of her before this? And how exactly did we miss the chance to feature on the album’s outro which is said to be written by ‘Amaarae and fans’? We can barely conceal our excitement and we know that in just a few hours, most of these questions will be answered.

4. The album is for bad bitches

Finally! An album made exclusively for the bad bitches. Amaarae promises that this will be full of endless affirmations and incantations for the ladies who know they’re the shit (and then some). Now I don’t know about you but when I think of bad bitches, I think of women like Megan thee Stallion and her legendary hotties who turned being a hot girl into an ultimate state of mind. Amaarae has been vocal about how she’s inspired by rappers from the South whose cadence and flow she emulated on her recent single “Fancy”, a no-holds-barred anthem that speaks to her masterful grasp of stunting on the competition. With songs like ‘Trust Fund Baby”, we have no doubts that she will deliver something unique and quirky enough to feature as the next caption under numerous Instagram posts.

5. This might be the album cover of the year

Album covers are pretty indicative of what to expect from a new album and it suffices to say that Amaarae’s album cover is one of the sickest we’ve seen this year. A vibrant myraid of shapes, colours, hues and symbols, the album cover was creatively designed and illustrated by two African women, Toyosi (SameFlesh) and Nana Nyahan. Taking a closer look at the cover’s art direction, you’ll immediately notice certain things; like the nude women at the album’s edge creating a formidable circle that hoists up another woman. We could be wrong but this may be symbolic of the invaluable contribution of women to the world (or at least to Amaarae’s world).

Amaarae has always been vocal about the relationship she shares with the women in her family and how they are the backbone to her personhood, so we won’t be surprised if she’s making parallels with the all-round power and efficacy of African women. You’ll also notice a monster perched at the side of the album cover, with more eyes than you can count, looking down at the scene below. Whatever its placement in the cover could mean, we’re betting it links back to the darkness Amaarae mentioned would be couched within the project.

Let’s Have It!

Featured image credits/YussifAlJabaar

.@tamimak_ Is a Staff Writer at The NATIVE

ICYMI: Amaarae’s debut album ‘The Angel you Don’t Know’ is almost here