“Adhesive with my thoughts so my people come first,
converse with your people so they know who came first,
ain’t really into lectures so I spit it in a verse”
– STILLBLUE
Multidisciplinary creative duo GRAY417C’s latest short film ‘BREATHINMYWORDS’ came to fruition in 2020, a year shrouded in political, social and ecological turmoil. From the global pandemic which hit in its first quarter to the various protests that followed, 2020 was nothing short of an Orwellian nightmare. ‘BREATHINMYWORDS’ was initially inspired by the uptick in the Black Lives Matter movement following the death of George Floyd – which shone a new light on the grave racial injustices occurring in the West, but encouraged little discourse around the carnage left behind by colonialism, neocolonialism and ongoing imperialism in Africa. While the BLM protests have reignited the will to fight in Black people globally, there is still a lot to be done.
Movements such as EndSARS in Nigeria, Congo Is Bleeding, Am I Next in South Africa, Anglophone Crisis in Cameroon and Shut It All Down in Namibia, late last year, began to take centre stage and rally a greater global convergence and exchange of views and purpose. However, it is important that individuals approach the issues being raised by the respective movements with nuance and knowledge of the histories and stories of the nations and peoples on and off the continent.
The ‘BREATHINMYWORDS’ film and accompanying song of the same name – by artist Stillblue from his debut project Systematic Sentiment – aims to shine light on these systems, that encroach on the basic human rights of individuals across the continent while actively stifling and stagnating development. ‘BREATHINMYWORDS’ was created as a tool to encourage individuals to delve into the histories of their countries, as African nations are rich fountains of traditions and ideologies that can be harnessed in order to push them forward.
BREATHINMYWORDS is broken up into 3 parts. Each new segment is introduced through the consumption of a pill by the protagonist. The pills transport the protagonist into other states of being as showcased through the use of different visual styles. The first state represents the dormant individual who does not see or understand the white supremacist capitalist patriarchy for what it really is but is attempting to break through. After popping a pill, the protagonist is transported to a state of revelation in which he is able to bear witness to the atrocities that have occurred in Africa over the past centuries. This second state is communicated through an amalgamation of found footage that highlights great African leaders who are all too often forgotten; juxtaposing them against atrocities which have bedevilled Africa. We are then transported to the protagonist in a cage – a symbolic representation of our educational system and mainstream media – where the final pill is consumed, and the protagonist enters a stage of enlightenment.
Coincidentally, the title ‘breath in my words’ highlights the power of our voices in the same manner as the ‘Soro Soke’ (speak up) chant that became the slogan for a generation refusing to be silent on social injustices, in solidarity with the EndSARS protesters. Hopefully through this work, individuals are able to educate themselves, become politically active and speak up so that their aspirations may shape the future.
Credits:
Music by STILLBLuE & ramo
Produced by GRAY417C
Creative direction by STILLBLuE, Rahim Mussa & Elisha Tawe
Photography by Rahim Mussa
Edited by Elisha Tawe & Mohamed Mussa
Elisha Tawe (Instagram: @vicious_roy) is an audiovisual artist and style editor at A2.O Mag. His work focuses on the historical impacts of art and fashion on subcultures and social movements. Elisha is currently based in the UK and holds an MA in Media and Communications.
Writer, Vincent Desmond explores the world of the young Nigerians who date older people for monetary gain and opportunities, discussing how they have been affected by both the ongoing pandemic and Nigeria’s second recession since 2016. Names have been changed to provide anonymity
“It’s funny because this is not something I have ever tried to do, it just happens. Some people are very good with math, some can sing; me, I attract people with money.”
This is what Bisi has to say about her job as a sugar baby. During the day, she runs a food business in Lagos State, and while it’s doing significantly well, a large amount of the income she lives on comes from the people she dates. On a typical weekday morning, she’s on the phone trying to get plates of food that have been ordered to her customers in different parts of Lagos, while on the weekends, she hardly leaves her bed until the evening when it’s time for a date with one of her sugar daddies.
She tells me:
‘‘I try to ensure my dates are all on the weekends so I don’t feel overwhelmed. It’s easier now than it used to be, but sometimes, they insist on meeting over the weekdays either because of their families or work. I only ever go if I like them or if I think they are a big fish. I earn pretty good money from my business, I can sustain my lifestyle off it, but I have people who want to take care of me so of course, I’ll take it.’’
While Bisi is unsure of how much exactly she makes per month from the people she sleeps with, she believes she averages between N600,000 to N800,000 and often earns way more every month. She explains that there’s no set price, and is often gifted based on how her suitor feels or as a celebratory token when they have secured a big bag. She recalls fondly: “I was with a guy – some politician – in 2019 when he told me how something he has been working on finally clicked as we were there, and told me I was his good luck charm. He gave me a million naira out of that money, as per good luck charm”.
In contrast to Bisi, who tells me that she has never actively searched for a sugar daddy and seems to just attract them naturally, Derek, a gay man who lives in Abuja has had to go out of his way to find sugar daddies. Where people like Bisi have discovered they seem to naturally attract people willing to spend money on them, people like Derek have had to deliberately search for it. Both people like Bisi or Derek are not unicorns in the business, across all genders and sexualities, you’ll find that there are just as many people who seem to attract sugar-guardians as there are people who have deliberately searched for their benefactor(s).
Derek tells me about some of the hiccups he’s faced along he way, saying “One thing I’ll advise people is that they should never move from a sugar daddy to another if they’re friends or in the same circle. I did it and omo, it was horrible. Elderly men are petty as hell and it was a mess.” It took Derek almost two months to find a new sugar daddy after he fell into what he calls a ‘sugar daddy love triangle’ and when he did, he realised something that changed the model of how he operated.
After meeting a top engineer in the UK who earned in pounds and generously gifted him an apartment, a new MacBook and an iPhone 8 Plus, which was the latest at the time, he took a new approach to his sugar baby business. Derek explains:
“I don’t enforce regular salaries or allowance because I was told that when you do that, it looks like a job or business relationship and that stifles how much you can really get. He gifted me based on how he felt and whatever I told him I needed. He could give me N300,000 this week, N50,000 next month, and N500,000 the following week. We were together for more than a year before I jumped ship.”
All over the world, the pandemic has affected the economy and several people’s income. Currently, Nigeria is going through its second recession since 2016, and the value of the Naira is the lowest it has ever been. Altogether, these factors have had a crippling effect on some of these sugar babies’ income, especially those who earn in local currency.
Derek’s model has evolved since he first asked his friend how to get started, and now he actively seeks out people who earn foreign currency. He makes use of the network he gets from dating affluent people to gain access to – and ultimately date – other affluent people. He tells me point blank that “It’s actually simple if you use your head. Rich people are friends with rich people and rich queer people stick together.”
Like Derek, Raye has also had to seek out foreign currency, as earning in Naira hasn’t been as forthcoming for her during the pandemic. She explains to me that working this job during the pandemic has been both good and bad, and while she has a sugar daddy who hasn’t sent her any money all year, she’s had another who has. Raye tells me about the sugar daddy who has sent her ‘zilch’, saying: ‘‘We still talk and I am understanding he has a family and the pandemic has put a lot of people in a bad situation so I can’t be mad. And then there’s another man, he’s in his mid-30s and we met in December of 2019. He’s not Nigerian and earns in dollars. He’s been really amazing to me and is the one who has sent me money the most this pandemic.’’
Raye isn’t alone. While lockdown restrictions in Nigeria are now almost entirely a thing of the past, the effects of the pandemic, as well as the recession, are particularly felt by sugar babies around the country. Noble, a writer and sugar baby, reveals that she had to dip into her savings for the first time in years to survive this year. Given that this job doesn’t come with stability, it’s important for her to always put some of it away, and she explains this saying:
“Writing is great and brings in a decent income but while I earn about N150,000 from writing for people, I sometimes earn like N400,000 from sugar mummies. Because of the way a lot of sugar babies are paid, it’s a bit hard to plan ahead and constructively use the money if we don’t aggressively save. It’s not like a regular job with a monthly salary that you can make plans with in advance. Here, some days you’ll go meet your sugar mummy and come back with N20,000 and other days with N200,000. So I save half of everything no matter how small or big and use the other half for daily expenses. I pay my rent and my family’s from the savings and do other big projects from it.’’
Among sugar babies, cash inflow is largely unpredictable. While some sugar babies are placed on an allowance, many seem to rely on an unspoken agreement as well as the generosity of their sugar parent. Sugar babies like Derek prefer this, as it doesn’t restrict how much they get, however, sugar babies like Noble note how much harder it makes planning out their lives and expenses. While she has considered asking them for a more stable income, she notes that it’s risky, as it’s a reminder that the reason she’s having sex with them, is because she is being paid to and sugar parents don’t seem to be fond of that.
Noble’s contingency plan for this insecure earning pattern is to save, and due to how erratic their cash inflow is, many of the sugar babies who share their stories with mecorroborate that they too are big on saving. Bisi shares that, through saving all the money she gets from men in her PiggyVest, she was able to buy a car and a second piece of land. She tells me “It’s also from where I paid two years worth of rent where I live. Right now, I am very comfortable, my family is comfortable and I am exploring getting into bitcoin and creating passive income streams so that in a few years, I’ll be earning enough to not be bothered about working hopefully.”
Bisi isn’t the only one who is thinking about the future. Derek also shares that some of his anxieties are surrounded around how unpredictable the Naira is, so he’s started saving in Dollars. He’s also learnt a trick which allows him save money on buying material things with the money he’s given, and gets his person to buy him clothes, gadgets and trips, which doesn’t affect how much actual money he gets.
“My lifestyle is pretty luxurious, and that’s very risky. A lot of us run on luck, you can wake up one day and your sugar daddy will say he doesn’t want you again and you won’t find someone else who wants you. What next then?”
For people who are looking to join the field, these sugar babies advise that one needs to understand how risky and volatile the industry is, and that not everyone is built for it. Derek warns that “If you are going to do this, you need to understand the danger you are putting yourself in, you need to understand that it’s more than gifts and money and sex. This is sex work if we are keeping it clear. People always forget about the work in sex work till they’re in it.”
Featured Image Credits: Patrick Demarchelier/Vogue
Vincent Desmond is a writer whose work explores queerness, internet culture and identity. Tweet him your favourite piece @vincentdesmond_
This year has been a monumental year for albums from the continent of Africa. Beginning with a disappointing L for Afropop lovers worldwide – who had hedged their bets on Burna Boy to take home the Best World Album Grammy – our faith was renewed throughout this year, thanks to incredible music. From Drill projects putting Kumerica on the map, to Amapiano infecting the continent north of South Africa and beyond, this year has been one of sonic diversity, experimentation and widening global interest. Last year’s ‘Afropop to the World’ international campaign has been successful, and this year, we’re no longer grasping for global attention – we’re sitting pretty at the table.
For many, the trickle-down effect of Wizkid, Davido, Santi, Tiwa Savage and Burna Boy’s US bits over the past few years, has been life-changing, especially for younger artists. Producers too, have enjoyed Afropop’s status as a global mainstay, for example as Telz and London now appear alongside seasoned beatsmiths, Timbaland and P2J, a boast that wouldn’t have been possible without the hard work and mentorship from the big three.
The significance of this year in albums cannot fully be appreciated without mention of the final arrival of Wizkid’s long-awaited ‘Made In Lagos‘. After all new music was put on hold to honour the End SARS movement, it was Wizkid’s ‘Made In Lagos’ that provided us with the first unifying experience of joy and celebration, reminding us that despite the hardship our country bestows upon us daily, we can be, and indeed are, great. With DRB also finally delivering their debut album – first teased as part of their ten-year anniversary in 2018 – this year, peers Davido and Burna Boy, on the other hand, were quick to offer up sequels to their 2019 drops.
Outside of West African pop, the likes of Nasty C, Amaarae and Odunsi (The Engine) showed up to remind us that – once considered ambitious kids challenging the industry – they are now established artists, having paved the way for a newer musicians with extra-mainstream tastes, such as O’Kenneth & Reggie, Icytooicy, and Forevatired – who also released projects this year.
Meanwhile down south musicians were brewing a trend that would grab the continent by its neck, a new sound hybridised from the Jazz, Kwaito, diBacardi and AfroHouse sounds that dominate the South African music market. Dubbed Amapiano, the new production style became the hottest sound on the continent this year, and on his fourth and final album of 2020, South African DJ, Kazba De Small claimed his crown as the King of Amapiano, a bold claim which went uncontested owing to the resounding success of the album.
2020 has been a trying year with innumerable curveballs, but as always, in times of adversity, good music thrives. As our Editor-in-Chief professed in our Special Issue WizMag, Music is the Medicine; these are the top twenty projects that nursed us through the year.
20. Sorry I Don’t Like Phone Calls – Ictooicy
If you’re yet to hear about Ictooicy this year then you’re either new here or haven’t been paying attention. The Lagos-bred rapper has become one of the hardest newcomers in these parts, continuously presenting the soundtrack for our most intimate feelings, with lyrics that admit things many of us feel too vulnerable sharing. With two projects this year, it’s clear that, much like us, Ictooicy has a lot of feelings, and with each new release there’s evident artistic development and growth.
‘Sorry I Don’t Like Phone Calls’, her February offering, is a 7-tracker that runs through the rapper’s state of mind. In a well-rounded glimpse into the workings of her life, Ictooicy shows that it’s possible to wish to be left alone and have all the love in your heart for those closest to you. On standout number “Lights” featuring Kiyo, she sings sombrely, “I hope that you know I do the best that I can” offering explanations as to why she may come off as standoffish and detached. On the project, her pain feels lived in and relatable, with each song presenting a need to find peace within herself – a strong theme this year. IC has had our attention for a while now, however, with the project’s chart-topping success, it’s not hard to see why 2020 was the year people started catching on to the self-proclaimed ‘poet with a flow’.
Tami
19. Pioneers – DRB
It is a superfluous task to measure DRB Lasgidi’s cultural impact purely through music. For more than a decade, the collective has quietly revolutionised community building, popular culture, merch curation, and party norm from Lagos to London, all leading to the alté community’s vaunt to global limelight in the late 2010s. While DRB Lasgidi members have all dropped music independently, there has never been a body of work to serve as a reference for the group’s sonic ambitions, with the exception of a number of loose tracks from the years past. 2020 marked the end of that drought with ‘Pioneers’, their swashbuckling debut album. The title itself suggests DRB’s estimation of themselves as leaders and with the album, they provide an integrated vision of what Nigerian pop music can aspire to with a wide diverse range of sounds that doesn’t disrupt the project’s cohesion. “Kasala” a textured pop song featuring Prettyboy D-O, flows effortlessly into “Salty”, a trap blitzkrieg that houses innovative verses from Santi and Maison2500. On “Next Gen” Fresh L raps, “Next gen kings, we the next best thing”, and it falls into sharp focus how incisive they still sound, despite being 10 years in. Long may they reign.
Wale Oloworekende
18. Leave Me At the Pregame – Maya Amolo
The sombre piano chords that launch Maya Amolo’s debut project ‘Leave Me At the Pregame’ present a good indication of the project’s upcoming emotional tone. The opening is “Puddles”, an anti-love anthem that finds her coming to terms with an uncommitted lover. “Fuck a fairytale, you and I ain’t enough” she sings grimly, shedding her naivety in the project’s first moments. But even while she’s reliving heartbreak, her voice is unmistakably soothing – resigned yet optimistic, with an undeniable sense of acceptance that there’s better coming.
Throughout the EP, Maya Amolo serves up breakup ballads, punctuated by moments of real growth and independence, drawing anyone who listens further into her youthful world. It feels like an old friend, recounting their latest romantic woes on a late night and seeking comfort in the process of sharing their most private thoughts. By the end of the project, she’s found her strength and she triumphantly sings “I’d rather drown than have you as a lifesaver”. Having clawed her way out, Maya Amolo shows us, in careful detail, the path it took her to gain peace and serenity, something we can all agree is needed this year.
Tami
17. Wildfire – Prettyboy D-O
‘Wildfire’ is the continued manifestation of Prettyboy D-O’s loud, constant self-prophecy that he’s primed to become an unstoppable force. After making good on the promise of his potentials on his excellent debut album, D-O doubled down on every positive artistic attribute for his latest project drop, culminating in a quick 8-song trip that’s searing and alluring in slightly unequal measure, but altogether instantly striking. Seesawing between growling rap cadences and animated, patois-inflected melodies with greater confidence, D-O’s singular skill-set is even more evident on ‘Wildfire’; it’s an exciting project from an artist nearing the peak of his powers.
Dennis
16. Tugela Fairy (Made of Stars) – Simmy
South African singer, Simmy delivered an impressive sophomore album, ‘Tugela Fairy (Made of Stars)’ with uplifting messages on love and following your ambition. Just as she did on her debut album, ‘Tugela Fairy (Made of Stars)’ narrates heartfelt stories with poignant lyricism and atmospheric productions that see her blur the lines between AfroHouse, Funk, EDM, R&B, Gospel, and nostalgic references that promote her Zulu culture.
On one of the standout tracks, “My Light” she encourages listeners to follow their dreams with a retelling of the Biblical story of the 3 wise men who followed a star. The song has all the soothing qualities to serve as the perfect soundtrack for the Christmas season. As with all the best musicians from Africa, Simmy scoured the past while recording ‘Tugela Fairy (Made of Stars)’; she samples South African legends, such as Jabu Khanyile,and American disco group, Lipps Inc to create a portal to a world that feels nostalgic, yet new and breathtakingly alive.
Debola
15. Gangsta Luv – Skillz8Figure
There are a few recognisable influences for Skillz 8Figure’s ‘Gangsta Luv’, from the repetitive sting of Wizkid’s “Joro” (“Kolo”), to the solipsism of contemporary R&B (“Gangsta”). Regardless, the magnetic element of the Ghanaian singer’s debut EP is his uncanny ability to spin his innermost, lustful desires and personal reflections into utterly catchy, rewind-worthy bops. With a sole official outing prior to this EP, ‘Gangsta Luv’ is the sort of instantly memorable coming-out party that many new artists dream of, but only few can pull off. In six brief songs, Skillz whisks his listeners into a colourful realm of neo-afropop beats and melodies so sugary, it’s impossible to resist.
Dennis
14. THOSE KIDS NEXT DOOR – Forevatired
A team of eleven players, Forevatired were one of this year’s most promising rising acts, with many ears in the industry glued to the ground in anticipation of their July project, ‘THOSE KIDS NEXT DOOR’. Keen anticipation was followed by continued praise, as the ten tracks introducing the group to their ever-growing audience did not disappoint. Right from its soulful double-sided introductory track, “WEST”, FOREVATIRED kept listeners intrigued and on their toes as they incorporate all their different tastes, styles, moods and creative expression into the twenty-minute tape. They say, “too many cooks spoil the broth,” but when it comes to FOREVATIRED, “there’s strength in numbers,” more aptly describes their output. The collaboration between RUNA, Pablo, Pharaoh, Eti, Sham, Faith, Golddrummachine, INDIGO, Brum3h, Rookie SBK, ROCK!MONSTA on this project elevates their respective offerings, coming together in a versatile yet astoundingly cohesive drop.
Titled ‘THOSE KIDS NEXT DOOR’, the project introduces FOREVATIRED as the cool kids on the block. As kids, they keep their records short, they make references to Pritt Stick glue and infuse Nollywood skits into their music. They are unafraid to make mention of their recreational drug use, nor do they hide their dark times. In a growingly progressive world, ‘THOSE KIDS NEXT DOOR’ captures the attitude of the forward-thinking youth who live by a strict do what you want mantra, as expressed by Rookie on “BLUE” or ROCK!MONSTA’s description of the “MAGIC” of making music. It’s a project that resonates deeply with many of us young creatives, and it does so from their superior sonic pedestal.
Adewojumi
13. High Tension – Bella Shmurda
Bella Shmurda wasted no time establishing himself as an outstanding Afropop talent when he shared “Vision 2020”, the Olamide-assisted lead single from his debut tape, ‘High Tension’. The song’s success built anticipation for the project, which took us on an immersive and spiritual journey through the same gritty streets that inspired hitmakers like Olamide and Naira Marley. Over the 7-track EP, Shmurda narrates the struggles of life on the streets, where he learned tips for daily survival rather than ‘thrival’.
This EP opened the door to a more appealing Street-Hop universe – a reminder that hope can be found even in the darkest places. It set the singer up for the dominating run he’s enjoying at the end of the year as he’s now a regular feature on radio with bops like “Cash App”.
Debola
12. Celia – Tiwa Savage
Tiwa Savage’s peak presented Nigeria with a sensational diva who could really sing as well as make great pop music. All her career, Ms. Savage proved capable at churning hits, in soft medleys (“Ife Wa Gbono”) or party bangers (“Eminado”). With her tinny voice being the bridge between sultry R&B and mainstream pop, Tiwa collected a unique space within the Nigerian music industry.
Until recently, the need to document societal struggles hadn’t found her music, or a lot of her peers’ even. But 2020 was markedly different. The End Sars movement across Nigeria, Black Lives Matter, the growing economic concerns piling on black nations and communities worldwide, as well as the rising phenomenon of women’s abuse across Nigeria, stepping into the booth to record ‘Celia‘, Tiwa Savage had a lot on her mind. She’d also left Mavin Records, owned by longtime business partner and friend Don Jazzy, to join Universal Music Group. Obviously a crucial part of her crossover to the global market, Tiwa Savage, now more than ever, needed a gracious exit from her pop queen phase. She finds that on ‘Celia‘ with its delectable songwriting, warm honeyed beats, bright melodies and flashes of sociopolitical awareness.
Whether it’s the Naira Marley-assisted “Ole” or “Koroba” – where she throws Nigeria’s misogynist culture in its face – Tiwa Savage deftly floats over the mid-tempo percussions. Her skill with featured artists means that she situates her own guests comfortably, delivering slick verse after slick verse but leaving just enough space for the guest. On Speroach-produced “Park Well”, Tiwa’s mellifluous vocals and Davido’s trademark energy, lean on the electric production, hoisted on the warm drums and jazzy horns. On solo effort “Dangerous Love”, she excites with head-bumping flows and an adlib-led hook that has proven irresistible. The album’s closing track “Celia’s Song” gives Fresh Morning vibes, a strong sense of beauty and peace evoked from the ethereal synths and hallelujahs. Here, Tiwa Savage has you where she wants you: vulnerable and beautiful… glorious.
Emmanuel Esomnofu
11. For Broken Ears – Tems
Back in January when I sat with Tems for NATIVE’s Issue 004 cover story, she made abundantly clear that the intention of her music is to help whomever is listening feel and heal their emotions. With her short and sweet debut project, Tems definitely delivered. For black people all over the world, 2020 has been a time of heightened fear –whether it’s a fear of catching or spreading a deadly disease, or fear of your life at the mercy of those who are sworn to protect you. In a year which has forced everything to pause, a year that can be characterised as a frenzy whilst we’re all still being constrained, Tems’ ‘For Broken Ears’ seems like the antidote to all the poison.
With 7 tracks, Tems takes us on a journey through her most troubling emotions, finding healing within the chaos and finally coming out of the other side, intact. Starting off with an assertion of the validity of her feelings on “Interference”, the project’s strongest track, “Free Mind” sees her finding that peace she’s after, a theme which runs through each following track on the project right to the closing, “The Key”. Wearing many hats as producer, songwriter and vocalist on ‘For Broken Ears’, there’s a real sense of Tems’ giving her whole self to us through this music, and this gives what we’re listening to more credence as the soundtrack to our lives and lived reality. Tems’ most valuable currency is expressing her raw emotion, and this is what makes ‘For Broken Ears’ one of the best projects to come out of this year.
Damilola
10. Get Layd – Omah Lay
We were all still adjusting to the self-isolating rules of the lockdown when Omah Lay shared his debut project, ‘Get Layd’, back in May. His mix of emotionally piercing lyrics and compelling Afropop melodies were just what the doctor ordered for the gloomy period we collectively experienced. All five tracks gestured at a world of love and pain, where he described different romantic scenarios with vivid and intricate songwriting.
Though he initially started his music career as a producer, Omah Lay opted to handle all the vocal responsibilities on the tape, and only produced one track, “Bad Influence” which showed off his range. The fanfare for ‘Get Layd’ has sustained the whole year, granting him access to emerge as one of the strongest contenders for breakout artists of the year.
Debola
9. Everything You Heard Is True – Odunsi (The Engine)
From his debut as a full-fledged artist in 2016, it was evident that Odunsi (The Engine) was a force to be reckoned with. His 2016 project, ‘Time of Our Lives,’ elucidated an artist daring to stand out from the pack as he dished out a unique spin of bright, bouncy Afropop. In 2018, he went darker, releasing his debut, full-length studio album, ‘rare.’, which saw him marrying his ’80s and ’90s R&B influences with a dark, Pop-tinged sonic palette. On ‘Everything You Heard Is True’, however, Odunsi embraces the darkness. Earmarked by hazy, psychedelic production, ‘EYHIT’ finds Odunsi evoking equal parts love-drunk melancholy and cynical machismo. The 7-track project comes across as an arrival of sorts, brimming with music that feels like one long, psychedelic trip.
What’s most intriguing (and rather refreshing) about the project is Odunsi’s seemingly newfound confidence. Known for his unorthodox fashion and sonic choices, “The Boy From Nigeria That They Hate To Love” has often been met with ridicule from “critics” and naysayers. On ‘EYHIT’, however, he addresses this bunch – for the first time ever – without saying anything at all. As the title suggests, Odunsi no longer wishes to be understood: “It’s just a combination of everything anyone’s ever felt about me, everything anyone wants to believe, because at the end of the day, it’s their perspective and I can’t battle someone’s views,” he explained in an interview with NATIVE earlier in the year. He’s at the point where he’s comfortable in his authenticity enough to explore new soundscapes, as he does with the project. Laced with bouncy 808s and sinister trap melodies, ‘EYHIT’ is a stunning body of work illustrating the inner workings of an artist who is at peace with his true self; Odunsi is finally free.
Makua Adimora
8. I Am the King of Amapiano: Sweet and Dust – Kabza De Small
Amapiano producers tend to disregard the notion of increasingly short attention spans; songs run well over the 5-minute mark, and full-length projects could go fo hours. Even by these precedents, Kabza De Small’s ‘I Am the King of Amapiano: Sweet & Dust’ is wildly indulgent, a sprawling odyssey that just falls shy of three-and-a-half hours. To call that run-time a risk would be understating how much of an undertaking it is to keep listeners engaged for the entirety of the album, and not only does he pull it off, Kabza makes a grand statement. Split into two sides, ‘IAMTKOA’ experiments, dazzles, and thrills, backing up his titular claim and, of broader consequence, shoring up the legitimacy of Amapiano as a rangy SA House subgenre, one that’s as creatively complex as it is viscerally affecting.
Dennis
7. Zulu Man with Some Power – Nasty C
On his first major-label debut ‘Zulu Man with Some Power’, Nasty C sets out to fill gargantuan shoes. On the album opener “King Shit”, he wastes no time in laying claim to his kingly status, addressing himself as a king amongst his contemporaries. In this new role, he’s able to converse with God on shrooms, gift diamonds to his inner circle, and fly state to state, despite coming from Durban city. Make no mistake, Hip-h=Hop/Rap is here to stay in Africa and Nasty C is one of the genre’s widely-known ambassadors.
The rapper isn’t too preoccupied with sticking to rigid themes so much as he’s concerned with listing off the perks his grand lifestyle now affords him. The songs on ‘ZMWSP’ are teeming with self-confidence, and Nasty C gets through most of the project by relying on his on-demand cockiness and his deeply bruising raps. Even at moments where he’s a bit more detached, resigning the raps for a softer flow on numbers such as “Sad Boys” and “Ababulali”, he’s still as cocksure as ever, reminding everyone that he deserves the accolades despite being this young in the game.
Tami
6. Carpe Diem – Olamide
Olamide is a facilitator. In a glaring way, ‘Carpe Diem’ is a statement from a veteran who has the mindset of a freshly minted artist – it’s clear that Olamide has hit the reset button on his accomplished career, and this new album has renewed his wholehearted love for music. In a recent interview with P.prime, he revealed that what we know today as ‘Carpe Diem‘ changed entirely when he met with Olamide, and the young producer is responsible for 7 of the album’s 12 tracks. At the same time, some of the biggest hits have been helmed by the leaders of the new school, Bad Boy Timz, Omah Lay and Bella Shmurda. More than providing us with good music, the album is emblematic of Olamide’s status as an OG, who is actively making room for the next generation. It’s surprising that an artist as culturally relevant through two decades of Nigerian music as he is would need to reveal a different side of himself, but his need to try on new stylistic choices is proof of a genuine love for music and need to facilitate the soundscape’s growth.
Dennis
5. THE ANGEL YOU DON’T KNOW – Amaarae
With a good stock of featured appearances keeping her in mind, Amaarae released her first single of the year halfway through 2020, beginning her debut album campaign with the relatable, “LEAVE ME ALONE”. There, singing of her self-worth and demanding that her space and privacy be respected, the follow up single, “FANCY” is equally as self-affirming, also including the sex-positive tones that are customary on Amaarae records. Months later, when ‘THE ANGEL YOU DON’T KNOW’ finally dropped in November, Amaarae’s motivational quips and libidinous lyrics were pieced into the full-scale puzzle of a millennial creative. Sexually liberated – and fluid – “blowing on the internet”, but still crossing her fingers that she’ll make her millions so she’s able to spoil her mother with a Bentley, Amaarae speaks to all budding creatives trying to make it, inspiring listeners to be and love our true selves, through the irresistible sonics of her magnificent debut album.
Whilst her content is relatable, Amaarae’s singing and rapping styles are extraordinary, incomparable, unmatched. Her familiarity with the upper register is infamous; hitting the high notes effortlessly on sung numbers, Amaarae also excels at rapping up there, in a sexy avant-garde style that allures listeners with its uniqueness – though Moliy and Princess Adjua boast mind-blowing chemistry with Amaarae, as their voices flow relatively indistinguishable from one another on “FEEL A WAY”. Of course, the same can’t be said for her other, male featured artists, but ‘TAYDK’ still draws out the best of the likes of Santi – who exercises his singing muscles – or Odunsi (The Engine), who brings his raw, jaded experiences for an authentic record that captures youthful folly in its entirety. KZdidit’s reverberated hook on “PARTY SAD FACE” is phenomenal, but, as with all the collaborations on the album, Amaarae’s powers are not ever overshadowed. On many albums this year, guests have been known to wash their hosts, but throughout ‘THE ANGEL YOU DON’T KNOW’ Amaarae stays in charge. Experimenting with heavy metal on the “D*A*N*G*E*R*O*U*S” intro, Alt-Pop on her California-tinted interlude, escaping into a cartoonish universe on the outro “CRAZY WURLD”, Amaarae is successful in her various forays, but ultimately it is her own personal style that wins, on the album, in our ears and on this list.
Adewojumi
4. A Better Time – Davido
There is a wildly boisterous moment at the beginning of “Something Fishy”, one of the first songs on ‘A Better Time’, that provides a glimpse into why Davido is one of the most defining acts of his generation. With a slight drop of his inflection when he vocalises “Wait!” he elevates the ponderous pace of the song into bacchanal fare, proving his mettle for seeking out unique Pop anthems. Very few artists take the Pop genre as seriously as Davido does, even fewer have his commitment to conjuring hits that will blare out of speakers in malls for months on end. On ‘A Better Time’, Davido’s third studio album and second in less than 12 months, the artist is in prime Pop-singing form as he hops from Afro-fusion to Hip-Hop-tinged Pop to Amapiano-inspired beats with relative ease, even if his dynamism means that the singles there work better as a playlist that an “album.” In a year when buzzwords like “quarantine”, “social distancing”, and “lockdown” have entrenched themselves in our cultural landscape, Davido has also been hard at work to make music to help us ignore this unusual normal.
Wale
3. Roots – The Cavemen
The entire essence of the Afrocentric band, The Cavemen, channels the nostalgic highlife sound that raved in our country during the ‘50s and ‘60s. Since their 2019 debut, the pair have tread a path unique to them, fusing elements of Jazz and Soul music with their evident Highlife influences to create their version of futuristic Highlife; a coalition of slices of the past and their modern perspectives. This sonically opulent history is expanded further on ‘ROOTS’, their critically-acclaimed debut album. Just six minutes short of an hour, the sixteen-tracker is concurrently an expansive journey through the rich sound of highlife and a heartfelt ode to the soundtrack of our country’s traumatic history and political turmoil. On ‘ROOTS’, the brother duo take on many forms; they are the village elders continually dishing out advice to any who wish to heed; they are love-sprung men, exploring themes of freshly tapped love as they render lyrical attempts to woo a woman; they are the town square entertainers, delivering communal music for merrymaking. Further listening and The Cavemen’s goal becomes clearer by the second; they are here to uphold the legacy of Highlife, but they’re much more than revivalists – they’re dedicated to creating instantly timeless music rooted in their authenticity.
Makua
2. Twice As Tall – Burna Boy
With the most impressive discography of his era and a bunch of classic records, Burna Boy’s quality is a glaring light. His music is, at different times, joyous, conversational, painful, triumphant, and always features a rich voice engaged in the intersection of personal and communal stories.
‘Twice As Tall’ – his fifth album – came after his fourth, ‘African Giant‘, was nominated for a Grammy in the Best World Album category. The eventual winner Angelique Kidjo would dedicate her award to young African stars taking the sound global, naming Burna Boy himself. Months later, it would be another African legend, from the era of Kidjo, Youssou N’Dour, who turns star feature on “Level Up”, the album’s emotional opener. Burna Boy stitched this album to the weight of his Grammy loss but more importantly, to how he’s dug in to emerge with even more great music. Each song realises its full potential, helped by the expertise of American strongholds Diddy, Mike Dean and Andre Harris, paired with the local flavour from Nigerian producers like LeriQ, Rexxie and Telz.
Contrast of black and white render photographs legibility, and on ‘Twice As Tall‘, Burna Boy is both grim and optimistic; immersed in dangerous scenarios one moment, singing alongside a choir and seeking divine protection the next (“Bank On It”). This artsy handling of detail imbibes many Burna Boy songs with great visual prospect and ‘TAT‘ is especially exceptional, producing three excellent videos already (“MonstersYou Made”, “Real Life” and “Way TooBig”). “Oya Do Am If E Easy”, he says now on the Meji Alabi clip with a smile, knowing ‘TAT‘ has earned his second Grammy nomination and could become the first golden gramophone he owns.
Emmanuel
1. Made in Lagos – Wizkid
October was a tough month for Nigerians. In bleak moments where we watched security forces who are sworn to protect us bully, brutalise and kill fellow citizens in real time, in addition to the government’s lackadaisical response to our complaints about being killed for no reason, there wasn’t much that made us feel good to be Nigerian. Wizkid’s long awaited album, ‘Made In Lagos‘ was postponed in solidarity of the moment, and the juggernaut dedicated his time to fighting alongside the rest of us. After a long month of consuming tragedy every single day, ‘Made In Lagos’ finally came and it was the first time in what felt like forever, there was any collective joy.
More than good music, ‘Made In Lagos’ was the medicine we all needed. The triumphant declarations on the album’s opener, “Reckless” juxtaposed the despondency we all felt; seeing our two G.O.A.Ts collaborate on “Ginger” hit different; hearing our peers, Tay Iwar and Tems on a Wizkid album was a measure of growth for a burgeoning scene; and the uplifting message on the Damien Marley-assisted “Blessed” helped us find hope and gratitude in a bleak situation. Without even setting out to, ‘Made In Lagos’ made being Nigerian, feel good again, and in a year laden with loss, confusion and tragedy, the best music is the kind you can feel, and that’s what makes it the best album of 2020.
A few weeks ago, Naira Marley gave us a double release with two striking songs, “Koleyewon” and “Chi Chi”. This year, Christmas feels anything but merry, following rising cases of COVID-19 all over the world in addition to the uprisings against social injustices we’ve faced all year. Leave it up to our Marlian president, however, to still find a way to spread some good cheer, much like he’s done with the newly released video for “Chi Chi”.
Much like the song says, Naira Marley has fallen in love with a girl named Chi Chi and he’s confessing his feelings to her against the Rexxie-produced beat. In the video, we see how he becomes smitten by her when they meet at a buka joint where she works much to her madam’s dismay.
Throughout the video, we see that Marlians do have feelings too like he says on the song, as Naira showers her with gifts, wires her money and serenades her with his sweet lyrics.
You can watch the video exclusively on The NATIVE here:
This year has been filled with so much loss that you’d be lucky to have only lost 10 FIFA games and 100 lighters. In a year filled with loss of human life and creature comforts, a world-wide dismantling of societal injustices, and the collective trauma we all felt whilst doing so, there’s been one constant escape from the gloom: music.
As we continue to review the pop culture landscape which has offered some much-needed joy and escape in this terrible year, today we’re celebrating the 10 new artists who despite a restrictive year, managed to establish themselves as the most notable new artists on the scene. This year, the criteria to gain the world’s attention is much different to what it’s ever been, and as we all look for familiar grounding, whether it’s a sound that will lift our gloomy spirits, or confirm our innermost feelings, there hasn’t been a more welcome time for upcoming artists.
We started Fresh Meat earlier on in the year before the pandemic hit to identify and champion the new talent we believe should be up next. Looking back, the pool has been anything but shallow, which has made it difficult for us to land on the best 10 across the entire continent. For our last of 2020, we have put together a ranked list of our favourite new artists on the scene, who have shifted the needle one way or the other and are expecting to take off to great heights throughout this decade.
10. SGaWD
22-year-old singer and rapper, SGaWD has been one of the year’s best discoveries, and to show how special she is, she’s done it all with only one official solo release this year. First hitting our radar with the brash-talking, slick-tongued lyricism that trailed her earlier rap releases on Soundcloud “Are You Dumb (WMF)” and “Whorephobia”, it was clear that SGaWD came into the game ready to prove her chops and to make music for women to have a good time.
Earlier on in the year with her first release, “Feel Right” featuring DOZ and Mafeni, SGaWD introduced listeners to the softer, mellow r&b side, and she continues to prove her musical malleability by unlocking new layers to her artistry. SGaWD clearly has grand visions for the future of her craft, and her steady slew of features this year, from Kiienka’s “Gotta” to Somadina’s “Kno Me”, proved that she could handle her own whether it came to singing or rapping. She has all the makings of a star, and with her debut project on the way, we’re in for even more of a treat.
Tami
9. Ictooicy
If you’ve been paying attention this year, you’ll know that Ictooicy has been working hard. Over the year, she’s been steadily working her way from being bedroom pop’s leading ambassador to an artist capable of topping Nigeria’s charts and one growing in self-confidence with each new release. A few years ago, an artist like Ictooicy would have struggled to achieve the same feats the young star now enjoys, and her refusal to conform to any set rules is what sets her apart today.
Her music displays a level of self-awareness we don’t always get in Nigerian pop music, laden with lyrics which constantly evaluate life’s many turbulent experiences. More than just some background noise, her music is a bit like a friend– close and safe enough for you to let down your guard with, and this may also explain why Ictooicy’s ever-growing fan base started off with a bunch of her close friends leading a close-knit digital community that constantly show up for the artist. So if you’re yet to get better acquainted with our very own Icy girl, we’d suggest you catch up on her expansive catalogue while there’s still time to be in your feelings without the distractions of a bustling everyday life.
Tami
8. O’Kenneth & Reggie
At first under the stewardship of Chicago natives, Drill music was given some light tweaks as it became one of the forerunning genres of music in the UK during 2018. New Yorkers – who have always found reason to relate England’s capital, London – picked up the deep slides and moody rhythms of the sound, and with their global influence, sent the world into a Drill-obsessed frenzy. As the sound became en vogue late last year, more and more Drill rappers came out of the woodworks and into the limelight this year, including the now globally renowned Kumasi Drill rappers under the indie record label, Life Living Records. Starring KwakuDMC, City Boy, Jay Bahd amongst others, O’Kenneth and Reggie emerged as particular crowd favourites from the Asaka music movement this year, owing in parts to their joint project, ‘Straight Outta Kumerica’.
Collaborations are an essential tool in the music industry – for a number of reasons – and one that rising musicians most often make use of on their ascent into public consciousness. Life Living Records are heavy on the collaboration, with innumerable posse cuts under their belts. In these drops, Reggie and O’Kenneth are often the standouts, so when they released their joint EP, it was obviously an instant hit. Sampling Bollywood vocals, in the style of Naughty Boy’s “La la la” and paying their respects to the Drill icon, Pop Smoke, “Bust” is a record dedicated to their city, upon which they rap about putting Kumerica on the map with their infectious Drill. With hits such as “Akatafoc” and “SORE” spreading across the continent and into global music conversations, Reggie and O’Kenneth’s superior contributions to the vanguard of Ghanaian Drill has given the world one of its most exciting musical enclaves this year.
Adewojumi
7. ENNY
You can’t listen to Enny without instantly recognising that X factor. Sometimes an artist doesn’t need to have released a ton of music for them to command our collective attention, all we need is a peek into a reality that resonates with ours, and South London-based emcee, ENNY is proof of this.
Back in May, her debut single “He’s Not Into You” introduced her style to us, where she gives us some important life lessons about dating and romance, while effortlessly switching between spitting bars and the sung chorus. In addition to her clear talent, the song feels like that brutally honest friend who always has your back, and you know you should listen to more often, but don’t always. By her follow-up, “Peng Ting Black Girls”, a love letter to black women which came alongside a stunning video that shuffled between her experiences as a British-Nigerian, we knew she was one to watch. Enny’s music is uplifting for women, and has created a safe space for young black women, who have spent the year fighting against racial and gender-based inequalities. We need music like ENNY’s, and with a small catalogue of music under her belt, she should be poised for an even bigger 2021. From where I’m standing, it feels like there’s no limit for her upward trajectory in the game and we can’t wait to see where she goes next.
Tami
6. Azana
Armed with a richly textured voice, Azana makes music that will stir up emotions even if you don’t understand every line she sings. In April, the 19-year old South African singer officially debuted on Sun-El Musician’s thumping “Uhuru”, a pan-African plea to constantly engage the powers that be for positive, wholesome change. Her excellent, stirring debut album, ‘Ingoma’, expanded on that feature introduction, with her soulful, billowy voice shining bright in a soundscape that varies from piano-led ballads, to folk-soul cuts, and up-tempo thumpers. It’s quite remarkable that her breakout year has been characterised by music displaying her formidable skill-set, but what’s more remarkable is that she’s clearly still in the formative stage of her career. It’s only fair to wonder how much more riveting Azana will be when she hits her next plateau.
Dennis
5. Maya Amolo
In Maya Amolo’s world, vulnerability is soothing and the process of healing – though turbulent –sounds rewarding and freeing. After a few years spinning lo-fi, “sad girl tunes”, her early July debut EP, ‘Leave Me at the Pregame’, is rooted in finding clarity. To do so, she exhumes situations, untangles emotions, and reaches any sort of resolution she deems suitable. Maya’s voice is her strongest tool, and while the experimental r&b production on her EP is fitting, its spectral tone is riveting, her writing is honest and assured, inviting listeners to examine their own feelings through these songs. Maya’s sound isn’t mainstream, but if climbing up to number one on the Apple Music r&b charts in Kenya is any indication, it’s that she’s cultivating an organic set of supporters by creating a safe space with her unique brand of music.
Dennis
4. Skillz8Figure
Skillz 8Figure emerged as one of this year’s best discoveries from Ghana after he dropped his debut EP, ‘Gangsta Luv’. As a true product of the times we’re living in, he lent influence from all over the world for the 6-track tape that merges dancehall and trap-soul melodies without losing the strikingly Ghanaian bounce. Skillz pulls off the tricky endeavour with his expressive writing range, as he conveys all the familiar sentiments from his different influences; bragging about sexual prowess, ambition and gang ties.
Setting most of his songs to the slow and sexy groove of Afropop that listeners can feel in their hips, Skillz 8Figure’s music can serve dance floors. However, it’s his vivid and confidence-inspiring lyrics, “Speak the truth, like I write the Bible/ Dem a stick to your skin, like a fucking tattoo” that earns him the loyal following of fans who recognise his potential to represent Ghana on the world’s stage.
Debola
3. Bad Boy Timz
The best Afropop stars all have one thing in common, they have an effortless ability to make anyone who is listening dance almost on demand. Bad Boy Timz first showed promise to being elevated to the status of many of our greats on last year’s “Checks and Balance”. However, he didn’t break out into the mainstream until this year, when he dropped “MJ” and we all couldn’t get enough of the indelible track.
The song was so popularly accepted that he followed up with two subsequent remixes with two of afropop superstars, Teni and Mayorkun. Whilst his acclaim grew thanks to the ubiquitous track, he cemented his position as one to watch with his performance on “Loading” one of the standout tracks from Olamide’s latest album. In 2020, it would have been impossible for you to not notice Timz, and the fact that regular articities being restricted didn’t stop him from getting the people going. With his string of successful hit songs, Bad Boy Timz has definitely been elevated to pop stardom and we’re expecting him to be around for a while.
Debola
2. Bella Shmurda
Earlier on in the year when Bella Shmurda dropped his debut EP, ‘High Tension’, we knew instantly that there was something special about him. At the time the project dropped, we would have never guessed that a pandemic would have kept us away from dancefloors for most of the year, his introspective music came at a time that could guide troubled minds through the turbulent lockdown.
With a feature on major albums from Davido and Olamide’s albums this year, aligning himself with heavyweights bodes well for his trajectory and there’s no doubt about his star and staying power. With a unique sound that sets him instantly apart, his ability to switch up his cadence, whether he’s begging for God’s protection on “Omnipotent”, reflecting on life’s troubles on Olamide’s “Triumphant” or just getting the party started on “Cash App”.
Damilola
1. Omah Lay
2020 will be remembered as the year of Omah Lay. Not only did the Port Harcourt-raised singer/producer break out, he dominated. On Valentine’s Day, Omah dropped his lilting, infectious single, “You”, and in the weeks to come, it became evident that we were watching the real-time ascension of a budding star. The single worked its way to ubiquity, and the subsequent debut EP, ‘Get LayD’, skyrocketed to the top of the charts, with multiple songs sitting in the upper parts of streaming charts across multiple platforms, for several months!
In a year cursed with a raging pandemic, the spotlight shone brightly on Omah Lay, as he provided the soundtrack for a weird, difficult and challenging time. Blending breezy melodies, accomplished songwriting, and honest reflections over swinging, mid-tempo beats, Omah Lay brought a soothing consciousness and undeniable catchiness to the sourness of lockdown and isolation. His second EP, November’s ‘What Have We Done’, continued the same ethos, wrestles with newfound fame and its responsibilities this time around.
Having scored his first international feature, and stealing the show on Olamide’s “Infinity”, Omah Lay is clearly an artist with a Midas touch. Within a year, he’s become a superstar; each new step is primed to build his mythos into the sort of generational greatness that will inspire idols, peers, and the stars of the future.
Debola
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Written by Adewojumi Aderemi, Debola Abimbolu, Dennis Ade-Peter and Tami Makinde.
August 11, 2020 marked the 47th anniversary of DJ Kool Herc’s iconic party on Sedgwick Avenue, a date which has been adopted as the official birth date of hip-hop. As it inches towards five decades of existence, hip-hop (both as a culture and music genre) has made its way, from its institution in the Bronx, to every corner of the world. From contemporary Nigerian pop music, to hiplife in Ghana, and kwaito in South Africa, hip-hop has had a profound influence on the fabric of African music in the last three decades.
With that, it’s only right that rap music continues to find ways to thrive across the continent. There’s a widespread belief that rap is several steps below varying forms of afropop in terms of commercial acclaim, which isn’t entirely unfounded, but that idea undercuts all of the positives, from the overflow of rap artists around, to the infinite, ever-evolving range of styles. To anyone that paid attention to rap music across the continent in 2020, it’s obvious that the genre contributed its fair share to the sonic landscape, spawning hit songs, laudable projects, and continued growth in craft.
To reflect the wholesomeness of rap music in Africa this year, our list pulls in hit-makers, lyricists, experimental stylists, and everything in between. It’s a celebration of not just the best rappers of the year, but also the variety and boundary-pushing ethos that will keep rap music in its upward trajectory.
10. Joey B
As far as sheer range, there aren’t too many others rappers on the continent who operate on Joey B’s level. Over the years, the Ghanaian rapper has been building a catalogue driven by versatility, emphasising variety in his music, and becoming one of the best at adapting his voice to features, no matter the sound. In May, Joey put out ‘Lava Feels’, his second-ever project which he simply described as “a collection of songs”. Even with this low-stakes billing, the 9-track tape is an arrogant display of Joey’s increasing command of his powers, and one of the most enjoyable rap projects this year. ‘Lava Feels’ is a trip through several, varying sounds, ranging from synthy trap to breezy G-Funk, with Joey’s ability to effortlessly navigate through each sonic choice serving as the magnetic element. With several features and a contender for hardest rap song of the year, “Akobam”, Joey put in a stellar shift in 2020.
Dennis
9. Prettyboy D-O
At 28, Prettyboy D-O might be one of the most consistent and intriguing characters in the Nigerian hip-hop scene. His mix of bruising raps and dancehall-inspired melodies alongside his energetic personality has garnered him a cult-like following since his entry into the scene. 2018’s ‘Everything Pretty’ arrived with a bang at the time of its release, proving D-O’s knack for cadence, storytelling, and melody, but this year, he’s dialled it up a few notches with the release of his highly-anticipated follow up ‘Wildfire’. The new project is excellent, teeming with a wider stylistic range than he has previously employed, as we see the singer effortlessly dancing over menacing and boisterous production while delivering hip-hop perfection.
This year has been a good time for D O to flext his muscles, and for him the highlight of the year was the rapper landing a killer verse from Olamide on “Wetin You Smoke”and the debut of his latest socially-inclined number “Jungle Justice”, a hard-hitting rap song that spoke to the times we’re currently living in. Much like he usually does, he tells the tale of the underdog who continues to suffer at the hands of the powers that be, and judging by what we’ve seen so far, we expect him to only build on that momentum in 2021 where he’s teasing his debut full length LP.
Tami
8. Ladipoe
It’s difficult to engage in any conversations about rappers delivering on their best form this year without considering Mavin’s Ladipoe as a shoo-in for the famed title. The self-proclaimed Leader of the Revival has been tirelessly working all year long, trying and testing the boundaries of his pen game with his weekly freestyles as well as a string of singles, which each had their solid moments.
This year, after signalling the inception of Revival Season once again with the release of his earlier offerings “Revival Mode” and “Tailor Made”, he began building up hype and anticipation for what was to come. With his description of his bars as teeming with purpose on the self-assured number “Tailor Made”, it’s no surprise that Ladipoe is able to maintain this much impact in the game with only a few releases in the bag. However, it was the Teni-assisted “Lemme Know Remix” that proved to us beyond doubt that Ladipoe is here to stay. Building upon an already great song, Ladipoe found a way to create more momentum for the already popular song, by including fans with a call for freestyle submissions to the beat.
Ladipoe’s sweet spot is that his rap is adaptable to whatever the message he needs to send across is, he’s an all-round artist and can adapt to whichever genre or beat he finds himself working with. When we last spoke to the artist back in April, he shared he sees himself not only as a rapper but “a songwriter—[I am] an artist”. He keeps outdoing himself to the point where it’s fairly difficult to predict his next move, but from his impressive track record this year, it’s clear that he’s an artist with true staying power.
Tami
7. O’Kenneth
Thanks, in no small part, to the late, great Pop Smoke, Drill music became a ubiquitous sound at the top of this year, and as we’ve gone through 2020, we’ve seen more and more artists dip their toes into the angsty waters, as others emerge as Drill acts through and through. The latter category is where Ghana’s O’Kenneth belongs. A forerunner in arguably the biggest Drill movement coming out of Africa, O’Kenneth’s deep raspy vocals smoothly and effortlessly gliding over the year’s favourite groove, has been a particular highlight in rap music this year.
Dropping freestyles and covers early last year, O’Kenneth built up his following with his fast-flowing indigenous rap, and this year is making more serious plays alongside his famed record label, Life Living Records. Constantly collaborating with his label crew, you’ll hardly hear O’Kenneth alone, but his command of each song ensures that he’s never lost in the mix. With a strong repertoire of rapping styles behind him, from sung rap to an offbeat flex, O’Kenneth boasts a versatility that keeps his performances fresh and enables him to kill any record. Designated the opening verse of Sean Lifer’s “Ma Drip”, O’Kenneth also leads on the celebrated “Akatafoc”, a strong indication that even his label mates appreciate his penchant for arresting audiences with his bars. This year, along with the excitement of local Drill that brings in our African experiences on familiar Western sounds, O’Kenneth also brought to the scene his promising, genuine talent that we’ve got our eyes on for next year.
Adewojumi
6. Zlatan
All over the world, rap is primed for a new kind of energy that will aid evolution throughout the 2020s. After nearly half a decade of old heads coming for ‘mumble rap’ and those at the helm of it, two of 2020’s hottest rappers of (Lil Baby and Roddy Ricch) are a direct product of the evolution of mumble rap. Back home, in the decades old, yet still burgeoning rap scene, evolution doesn’t seem like such a welcome thought, and as such, solid rappers such as Zlatan are often counted out of rap conversation for straying slightly away from the set tenets of ‘what rap should be’. This leaves me with a lot to wonder, because when you consider his proximity to the streets ✓ storytelling ✓, flow ✓, longevity ✓ impact and commercial success ✓, one wonders what else it takes to be considered a rapper. Regardless, it’s been hard to ignore Zlatan since he broke out, and has been at the helm of the mainstream appeal indigenous rap has seen in recent years. This year, he’s continued the strong, winning streak he started out with a short two years ago, with a plethora of features and tracks that gained the attention of the whole nation, whilst still waxing lyrical in a completely different language. From brining Obesere back in the beginning of the year, to closing out the year with the triumphant “Lagos Anthem”, Zlatan’s position as one of the year’s strongest rappers leaves little to contend with, and I don’t ever want to have a conversation about rap that excludes Zlatan.
Damilola
5. Focalistic
If you deep it properly, Focalistic is something of a visionary. For as long as rap music has indented pop culture in Africa, there’s been a debate between “keeping it real” and making it accessible to the immediate audience. There’s no mistaking where Focalistic lands, his tagline, “Ase trap tse ke pina tso ko kasi”, literally translates to, “it’s not trap, it’s songs from the hood”. As amapiano was brewing into the global sound of South African hoods, Focalistic was one of the first rappers to adopt the infectious sound, a sonic ability he’s mastered without sacrificing his ability to make straightforward rap songs.
In 2020, he became a go-to collaborator for ‘Piano producers, including Kabza De Small, Semi Tee, and Vigro Deep, scoring his biggest hit till date, “Ke Star”, with the latter. Earlier this month, he dropped ‘Sghubu Ses Excellent’, continuing his dominant run with an impressive project that strengthens his potent fusion of amapiano and rap. Focalistic dedicated his year to being busy in service of his immediate audience, showing in his own way, that there’s nothing more important than keeping the streets fed.
Dennis
4. Costa Titch
Costa Titch’s presence in the South African music scene has been impossible to ignore since he started out as a member of the dance crew, New Age Steez. He already garnered some attention as the pioneer of a new kind of trap sound, which takes influence from the new generation of Soundcloud rappers such as Lil Pump.
South African music has had it’s fair moment throughout 2020, and this year, Costa Titch’s mosh pit inducing raps provided rap fans the energy to rage. Teaming up with AKA and Riky Rick for one of this year’s biggest South African rap songs, “Nkalakatha Remix”, Costa Titch’s experience as a dancer allowed him to deliver attention-grabbing choreographed dance moves in the video, which made the song even more popular, as fans mirrored his moves on their TikTok posts, a feat rappers such as Drake, Megan Thee Stallion and more have achieved this year as well. His impressive run was wrapped up with his debut album, ‘Made in Africa’, offering fans a collection of new club bangers with an A-class guest list of features that includes AKA, 25K, DJ Maphorisa, Riky Rick and more. With talent sprawling from all over the continent with diverse styles and cadence, it will take no time for the African rap soundscape to create it’s own identity.
Debola
3. Olamide
Having sat at the top of his game for over a decade, Olamide is having his full-circle moment and with it, we’re getting more authentic music to show off his incredible range. As we know, Nigeria’s rap scene loves to carve out a special place for indigenous rappers, rather than including them as rappers in their own rights. Having taken the sound to mainstream level, and even more impressively out of the country and the continent, this year was Olamide’s year of the flex and with a joint venture with Empire, and two projects, let’s never disrespect this man again. This year, he explored both his popular sounds and gave fans a rap themed album, ‘999’ as well as a pop album, ‘Carpe Diem’.
As always, more than the music, Olamide has always been one to expand the culture, and apart from highlighting Olamide’s range and consistency, both albums also highlight Olamide’s knack for discovering young tealent and giving them a platform for their talents to be recognised. For ‘999’, he featured upcoming rappers like Fresh Meat alum, Cheque, Jackmillz, Milly, and more, leading in the next generation while on ‘Carpe Diem’ artists such as Omah Lay, Bad Boy Timz and Bella Shmurda stole the show, while Olamide just sat back and did the thing we always enjoy.
Debola
2. Nasty C
In case you didn’t know, Nasty C is African rap music royalty. If you have any doubts, here’s a quick rundown of the rapper’s packed year: he signed a recording deal with prestigious hip-hop label, Def Jam; he dropped ‘Zulu’, a pre-album mixtape hosted by the renowned DJ Whookid, which was followed shortly after by his highly anticipated junior LP, ‘Zulu Man with Some Power’; and, in collaboration with Red Bull, a documentary of his trip to Japan began streaming on Netflix. What’s incredible is that, the elevated hype of these endeavours were always matched by the quality of his raps and the overall music.
For many, especially previously initiated listeners, Nasty C didn’t have much to prove, but with every move positioning him as the go-to ambassador of rap music out of Africa only raised expectations, he clearly lived up to it. On ‘Zulu’, he matched some of his most inventive and playful wordplay with indelible flows, vividly channelling his Lil Wayne influence into a dazzling, low stakes act. ‘ZMWSP’ applied that showboating trait to a stunning project that oscillated between invincible and human; one moment he’s handing down boastful edicts from Mount Olympus, in the next he’s appreciating his father over tribal chants. 2020 was the year Nasty C entered a godly realm, and he did it in awe-inspiring fashion.
Dennis
1. Amaarae
Amaarae’s bid for Rapper of the Year was placed with highly favourable odds back in May, with her indelible opening verse on the instant classic, “body count”. One of her earlier performances this year, Amaarae has gone on to count several other invaluable feature credits, both as a singer and a rapper. When it comes to the duality of her talents, her recent back to back appearance on Ghanaian rapper Dex Kwasi’s project – or earlier, on Rvdical The Kid’s “NASA” – say it all: Amaarae is a rapper first and a singer second. From hearing “HyPNOTIZE” and “WANT MY HoE BACK” you’ll quickly learn that her rapping goes harder, a claim we can back up by the superior commercial success of the former track.
Spending the year cementing her place as a bonafide rapper cum singer, Amaarae has been doing so whilst also proving she’s unrivalled in both fields. With her high-pitched, soft-toned, (sometimes) sung rapping style, nobody is doing it quite like Amaarae, and her brand of music has been, more delectable than other rap performers attempting to steal our attention. As she introduces “Still Dey Inside” with an acapella fast flow, by the 10-second mark, it’s clear that Amaarae has already washed the other rappers on the track – after the full four minutes, it’s confirmed. Her debut album, ‘The Angel You Don’t Know’ takes this washing industry-wise – continent wise. Popularly touted as one of the best albums to come out of Africa this year, ‘TAYDK’ ticks every box: her lyricism is enviable as always, her flow is unmatched (though Moliy makes an outstanding attempt on “SAD GIRLZ LUV MONEY”), her style is versatile, production is flawless and she makes good use of timeless musical samples, which is one of the core attributes of rap music.
As the world increasingly spurns its patriarchal order, in several male-dominated fields we’re seeing the undoing of androcentric customs that afford men more space and encourage women to accommodate men for a chance at success. Of course, music is one of these fields. These days, women making music have just a little more freedom and autonomy over their creations and also their branding. Pandering to male-dictated tropes is growing archaic, and across Africa, the rapper that most exemplifies this progressive advancement in music is Amaarae. Effusing positivity everywhere she appears, in her music, Amaarae preaches – to women, but applicable to all people – the ‘be true to you’ mantra in the most aspirational of ways.
It is often said by hip-hop critics that the best in the game are the ones who spit their truth. Rappers are so often criticised for faking hood status, mimicking the genuine trauma experienced by their icons, in a bid to walk in their footsteps of success. As a millennial African musician who lived in America for a period, Amaarae spitting her truth sounds vastly different to Jay Z’s greatest hits, but hers don’t slap any less. Whether it’s fully embracing her toxic traits, knowing when to gesture a T for time out, bragging about her new money, and revealing her multiple sexcapades, Amaarae is not shy to share any part of her life on a song. It’s this authenticity that bolsters her unique flow and pitch, to make her one of the best rappers in Africa. This year, the best.
Adewojumi
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Written by Adewojumi Aderemi, Debola Abimbolu, Dennis Ade-Peter and Tami Makinde.
Collaboration is one of the most brilliant things about music. Any avid listener will agree that having two of their faves on a track together is the best, but beyond the sonic, collaboration has been an effective means for young artists to claim their stakes in the game, by delivering an unforgettable feature on any song.
In a pandemic stricken year, where music has proven to be the crutch, we can’t even begin to imagine what this year have been without some key collaborations; from Burna’s Diddy-produced album making us swell with pride back in July, to the collective joy that swept the timeline when Odunsi surprised fans with the full version of “wicked, sexy” back in April.
When you think about how wide and diverse the current soundscape of the continent is, it comes as no surprise to see artists leaving their comfort zones and experimenting with new exciting sounds, taking risks that continue to widen the scope. Even though this has made it a bit difficult for us to narrow down to only 15, the wide array of music available from every corner of the continent is very exciting, especially at a time when the whole world is watching. To this end, we have curated a list of the top 15 collaborations of this year featuring the likes of Burna Boy, Wizkid, Fatoumata, Psycho YP, and many more.
Enjoy.
15. Psycho YP on “YKTV (You Know The Fvcking Vibes)”
It’s hard to settle on one Psycho YP verse because the man doesn’t miss. The TRYBE alum is constantly topping his own standards, and you’ll be hard-pressed to find a feature where YP doesn’t steal the show. Regardless, we managed to narrow it down to his assist on the drill sounds of King Perryy’s “YKTFV (You Know the Fvcking Vibes”, a number that pays homage to the late rapper Pop Smoke, who played a pivotal role in New York’s drill scene.
Psycho YP glides over the menacing beat with ease, adopting a jaded detachment while moving with the comfort of someone who knows they don’t have to expend too much. With an unparalleled track record, Psycho YP continues to prove why he’s a lyrical goldmine unafraid to put it on for his city. Warning don’t listen to this while driving because it’s bound to give you a false sense of swagger and invincibility.
Tami
14. Sho Madjozi on “I’ve Got A Friend”
Last year, Davido, a notoriously singles-oriented artist, dropped his sophomore album, a full seven years after his break out with ‘Omo Baba Olowo’. Apparently in a bid to free himself from his current label obligations, last year’s ‘A Good Time’ was quickly followed up by this November’s ‘A Better Time’, a sequel that builds upon all the merits of its predecessor, most especially when it comes to the quality of the album’s features. Mayorkun has been lauded as the hero of the album, for his high ranking performance on “The Best” and his assist on the affectionate, “I Got A Friend”, where he and Davido perch on Sho Madjozi’s back as she carries the song to its repeat-worthy heights.
With the only real verse on the song, Sho Madjozi’s thirty seconds, which are accompanied by equally catchy intro and outdo appearances, is the backbone of the song. Coming in with an exuberant rap-along flow that will have non-native speakers attempting to speak her tongue, Sho Madjozi’s verse on “I Got A Friend” is vivacious, it’s hard-hitting and it’s tailored made to bring out the best in Fresh VDM’s clearly SA House-inspired beat.
Adewojumi
13. WANI on “Mentally”
When Prettyboy D-O announced the release of his sophomore EP ‘Wildfire’ earlier this year, the project’s prescient title and the foreboding feeling left by gritty hardcore promotional singles such as “Dey Go Hear Weh” and “Odeshi” all seemed to suggest that it would be one of the meanest, toughest rap projects in these parts. Although D-O stayed true to his brand of self-assured anarchy for most of the project, the rapper also showed off his romantic side yet again, this time linking up WANI for a song that turns their thug-love trope into the material of sing-along choruses.
WANI has spent the past year working on the follow-up to 2018’s debut EP ‘Lagos City Vice’, and as such we haven’t heard much from him. Regardless, that hasn’t stopped WANI from generating buzz in his own way, and this year alone he’s contributed guest verses to fire tracks such as DRB’s “I Swear” to Higo and HVRRY’s “Company”, proving that he hasn’t lost any of the star qualities that first endeared him to us. Out of all of these, it’s on the Adey-produced romantic cut with Prettyboy D-O that WANI hits the sweet spot, singing in a pacified tone about the illicit joy of losing yourself to a new crush and longing for someone who probably can’t be trusted. His slinky vocals seamlessly balance the vigour of D-O’s as he muses, “girl I’m so fucked up again with your wickedest love”. Might just be me, but the openness of his words will surely have you pondering all your past relationships.
Tami
12. Teni on Bad Boy Timz “MJ”
Although we spent the better part of the year stuck indoors, you couldn’t escape the sounds of Bad Boy Timz, the singer who warmed his way into our hearts and ears with his dance-floor ready bops. On his upbeat single “MJ”, he wastes no time gaining our attention and successfully packs more into each verse on the song than most artists do on entire albums. And it’s already paying off as the song generated enough buzz to receive remixes from two of afropop’s hitmakers Mayorkun and Teni the Entertainer.
NATIVE 003 cover star, Teni, has a knack for bringing life to any song, attracting so many people to her lovably charming personality and her profane confidence. Her presence on the remix turns the track into groovy singsong affair, infusing delicate harmonies to an already boisterous song. She takes the lead on the song, shifting between singing and rapping as she sets the scene for the uptempo memorable hook. If this doesn’t make you want to kick your feet and dance then I don’t know what will.
Tami
11. Buju on HVRRY & Higo’s “Company”
From early, impressive cuts like “Energy” and “Commander”, Buju first caught major attention by plainly articulating the facets of modern relationships. This proficiency in turning the complexities of romantic situation(ship)s into relatable, sometimes catchy bops has made the singer an ideal collaborator for artists making songs concerning matters of the heart. “Company”, the Higo & Hvrry-helmed single from April, is arguably the most potent example in his growing portfolio of features. Backed by a fast-paced, zanku-ready beat, Buju turns in a charismatic performance fitting for the aloof content of his lyrics. “Oh I need your company, Oh I need you beside me/But I cannot beg for your love, you know”, he sings with the sort of forced iciness many of us muster after we’ve been taken for a fool one too many times. Sure, “Company” is a danceable song, but it will also give you enough to ruminate on, and Buju is the central factor to that.
Dennis
10. Rema on Manny Norté’s “4AM”
Rema came into the music scene at a time when Afropop had carved a space for itself on to the global music stage. He quickly made his presence felt with “Iron Man”, one of the standout tracks from his self-titled debut EP, ‘Rema’ which earned him a feature on former US president, Barrack Obama’s summer playlist. The endorsement positioned him at the forefront of the new generation of talents in a music scene that was exploding to global stature, so it wasn’t a surprise to see him get recruited along with other internationally renowned artists, 6lack and Tion Wayne for British DJ/presenter, Manny Norte’s summer anthem, “4AM”.
Although Rema has proven adept at crafting trap flows with emo bars to match, he’s also skilled at delivering feel-good Afropop melodies to soundtrack the Nigerian nightlife. On “4AM” he channeled the breezy vibe of the latter, as he gracefully begged his muse to remain faithful. “Girl 4 am and I call up your phone/ Me, I just wanna say hi/ It’s a lie, me I lonely tonight” he teased, showing his famous lover boy charm as he rode the minimalist pop beat P2J produced with ambient harmonies that set the mood for a beach party.
Debola
9. Fatoumata on “Désolé”
Gorillaz pulled a DJ Khaled for their latest project, ‘Song Machine, Season One: Strange Timez’ as it was packed full with famous guest stars such as Beck, Elton John, Schoolboy Q, 6lack, St Vincent, Tony Allen, Skepta, Moonchild Sanelly and others for the 17-track tape. However, it’s hard to argue with the success of the superstar mashup, especially for the standout track, “Désolé” where they partnered with Mali-born and Paris-raised singer, Fatoumata Diawara to create the most enchanting marriage of traditional and modern sounds.
Gorillaz already established their reputation for making revolutionary hybrid music that blends hip-hop, electronic music, and indie-rock. On “Désolé”, they tapped Fautoumata for an authentic cross-cultural fusion of European electronic music and contemporary Anglophone roots music. Though performing her lyrics in her indigenous dialect means her words are unfamiliar to non-French speaking audiences, her melodies are easy on the ear as she reminds us that we don’t have to abandon our roots while presenting our culture in a new way.
Debola
8. Burna Boy on “Jerusalema”
Despite the difference in language and culture, Nigeria and South Africa share a love for music that allows artists from both countries to collaborate without sounding contrived or inauthentic. Artists like Wizkid and Davido already showed us that there’s a sweet spot where the lightweight melodies of Afropop and the ethereal groove of South African AfroHouse interweave. However, Burna Boy’s verse on Master KG and Nomcebo Zikode’s “Jerusalem Remix” added an extra layer of charm as he took some cues from Nomcebo Zikode’s vocals on the original song and performed some lyrics in their indigenous dialect. His English lyrics, “Look into my eyes, see pain and sacrifice/ What goes on in my mind/ Struggling to survive” shows another example of how Burna Boy can channel his grief and make an emotive bop as his contribution allowed the remix peak at #2 on Billboards’ World Digital Music Charts.
Debola
7. Moliy on “SAD GURLZ LUV MONEY”
When the early-listen SoundCloud link for ‘THE ANGEL YOU DON’TKNOW‘ was shared with me, I noticed an interesting distinction on track number thirteen. Moliy, who appeared earlier on on “FEEL A WAY” was listed as “starring” in “SAD GIRLS LUV MONEY”. Though my go-to, Apple Music simply credits Moliy with a “feat.” the SoundCloud and YouTube accolades are much more accurate. “SAD GIRLZ LUV MONEY” is helmed by Moliy, and what’s most brilliant about her performance is that you can hardly tell. Moliy so effortlessly mimics Amaarae’s signature upper register whisper-soft singing, without losing her own vocal identity along the way.
Leading the song for the first two minutes twenty, with her two-part chorus and rightfully lengthy verse, Moliy is truly the star of “SAD GIRLZ LUV MONEY”, responsible for all of our favourite bits on the track, such as, “get the fuck outta my way I’m gonna get paid ya,” and “I really like to party.” ‘THE ANGEL YOU DON’T KNOW’ is easily one of the top five albums out of Africa this year – front to back, every song excels. For Moliy to take control of an entire track, pretty much and match the supersonic standards set by Amaarae – to the point where her showing has been touted as one of the album’s top tracks – is no small feat. That’s probably why Amaarae has labelled the track as “Starring Moliy.”
Adewojumi
6. Maison2500 on “wicked, sexy”
After Odunsi the Engine premiered the mosh-starting single “wicked, sexy!” at close collaborator and friend Cruel Santino’s first headline show in Lagos last year, the Maison2500-assisted collaboration became one of the most anticipated songs from these parts. But the more the song was teased on socials, the more fans grew worried that the single would never see the light of day–it did.
Somehow the record didn’t suffer from its delayed release, shooting up to #9 on the Apple Music Top 100 charts hours after its release as the song’s lyrics invited singalongs and Tiktok videos. By embracing the brash, discordant timbre of punk-rap, both artists came into the game cocky, moody, and ready for a good time. Taking the song’s opening verse, Maison2500 sets the mood for the sexy summer staple, as we find the rapper at his most playful and boastful. “Shawty I’m wicked, don’t stress me” has been everyone’s mood for the year Maison2500 put it in words for us. But even as the year fades out, this song still goes off in the function with its futuristic production and it’s straightforward meme-able chorus.
Tami
5. Mayorkun on “The Best”
Davido definitely recognises the importance of forming alliances with other talents, as his catalogue is sprawling with songwriting credits from artists like Teni, Tekno, Peruzzi, Adekunle Gold, and others who have helped deliver hit songs that established him as an elite artist. Through all of this, his most consistent partnership has been with Mayorkun who he signed to his label in 2016. The standout track from Davido’s recently released album, “The Best” is their fourth released song as a duo and they take the opportunity to celebrate their bromance; “See I learnt from the best oh/ Davido/ Sho get oh?/ Baddest oh/ Mo bad oh”.
The song shows how comfortable they are as a pair after having fine-tuned their musical chemistry since they first teamed up on “Bobo” over 2 years ago. Though they took different directions with their verses with Mayorkun addressing his love interest, Betty and Davido making a statement to his opps, they still manage to bring the song together nicely. Mayorkun’s delivery is as impressive as ever, where he performs a convincing impression of Wande Coal’s falsetto, while delivering one of the best guest verses of the year.
Debola
4. Tay Iwar on “True Love”
Tay Iwar is one of Nigeria’s most talented musicians, his voice is transcendent, his production exceptional, his music is ethereal. And when it comes to features, Tay Iwar is not known to shrink himself so that other artists may shine and for that reason, he tends to wash almost every artist who invites him onto a song. When it’s a project, you can expect Tay to rinse every other artist who appears on the record too. So he did on Wizkid’s ‘Made In Lagos’; though he sits amongst other phenomenal performances, for example those of Damien Marley, Ella Mai and Terri, Tay Iwar’s vocals soar far above the rest.
Following Juls’ rhythmic introduction with his softly spoken, “my days,” right from the top of the track, Tay Iwar steals the show with his head bursting performance. Kind enough to usher out a pre-chorus to precede his “True Love” hook, Tay Iwar commands the Juls production with his vocally dexterous, lyrically poetic and profound performance. Tay’s chorus is delectable and one to which you simply can’t help but return.
Adewojumi
3. Bad Boy Timz on “Loading”
There’s a strong case to be made that “O shock won bakan” is the best opening ad-lib of this year. Loosely translating to “it shocked them somehow”, it’s a marker of arrogance, a quip buoyed by the sort of clairvoyance that comes from being overconfident. For the stunning shift Bad Boy Timz put in on “Loading”, the overconfidence is perfectly fitting. According to Olamide, he gave Timz and producer P.Priime the leeway to come up with the foundation of the song, and upon his return in about 20 minutes, they had a ridiculous banger waiting for him. Even Olamide was shocked.
Timz came into 2020 looking to effectively breakout, and the summer smash, “MJ”, put him over. The single pegged him as an artist with a strong flair creating dance-ready music, an ability that came as a premium during a raging pandemic—in a year brimming with chill music, people still wanted to dance even if it was alone. On “Loading”, he summons the same power to compel listeners to dance with far more assurance, wielding his snappy melodies like an expert horse rider. Within the few bars of his addictive hook, Timz encourages us to stay active in our paper chase, while conjuring the rewarding joy of dancing non-stop in the middle of friends and strangers—a feeling many of us miss and hope to return to as soon as possible.
Dennis
2. Deto Black on “body count”
When the first line of a song is “Don’t worry ‘bout your body count/let your body bounce,” you know you’re in for something very special. “body count” is the anthem of the year and Odunsi the Engine brought the girls together for this phenomenal sex-positive anthem that shows African women embracing their sexuality on their own terms. It’s full of one-liners that have doubled as Instagram captions around the globe and upon release, it truly felt like a win for the girls. Amaarae delivers a verse that defines the carefree and confident attitude that put her on the map but the real show-stealer was the trump card waiting on the second verse–Deto Black’s debut akin to Nicki Minaj’s scene-stealing “Monster” moment back in 2010.
Songs about sex and power are common, but apparently shameful when women are the ones dishing it out. But Deto Black bursts into the song with all the confidence and self-assurance in the world, talking smack to the opps aunties, and niggas without a Lamb (or plan). She’s the ultimate bad girl and she’s not afraid to make bold proclamations about sexuality, luxury, and power from a woman’s perspective.
Tami
1. Burna Boy on “Sponono”
Burna Boy is the most versatile artist of his generation. Convincingly hopping between rap cadences, patois inflections and straight-up melody slinging, the self-proclaimed afro-fusionist is the present-day vision of what it means to be a singular artist while showcasing range. If you took it for granted on his trio of sparklingalbums from the last three years, his feature run makes it evident that there really isn’t any sound Burna cannot excel over.
On “Sponono”, the blockbuster single off Kabza De Small’s sprawling, phenomenal ‘I am the King of Amapiano: Sweet & Dust’, Burna absolutely stuns. Amidst a vocal line-up that includes Wizkid and Cassper Nyovest, two of the biggest superstars in African music, the singer shines the brightest by doing something many would consider mundane: playing his role. On a fair share of occasions, Burna’s malleability and burly presence has threatened to overwhelm (Buju’s “L’enu (Remix)”) or outright consumed (“Jerusalema (Remix)”) songs he’s featured on, which isn’t a detriment to those songs. The masterstroke of his guest appearance on “Sponono”, however, is that he’s commanding and complementary in the same breadth, operating as the standout star while also performing in service to the song itself.
Kabza’s breezy instrumental arrangement sets an immaculate ambiance for his guests to float, and while his other counterparts accept the invitation, Burna switches things up without being disruptive, adding a visceral edge to his melodic incantations. In amapiano, a producer-driven genre, vocal artists have to turn in gripping showcases so as not to get swallowed by the layers of the music. Some do so by being inserting enough charm to not be ignored, while others opt for a more aggressive approach. For “Sponono”, Burna’s first and only foray into amapiano yet, he finds a balance between both poles. The best part: He sounds so damn effortless while doing it.
Dennis
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Written by Adewojumi Aderemi, Debola Abimbolu, Dennis Ade-Peter and Tami Makinde.
The Nigerian fashion industry has come a long way from where it was a decade ago, thanks to several efforts such as Lagos Fashion Week and the likes which have enabled the sideways growth of the industry. These days, fashion is no longer limited to luxury and high-end fashion and young Iretidayo Zacchaeus’ streetwear convention, Street Souk, is one good indicator of this.
Founded two years ago, inspired by her mother’s Fashion and Beauty conventions to similar effect, the biggest streetwear convention in Lagos, Nigeria is back for its third year running edition this weekend and will continue its mission to create a youthful hub of fashion, music, and culture with a special dedication to championing the work of upcoming and established streetwear brands in the country.
The event which is hosted by founder Iretidayo Zacchaeus is one of the first of its kind to be created in Nigeria and West Africa more generally, where it’s impossible to ignore the ongoing streetwear revolution. It’s also not lost upon us, that at the helm of bringing the entire scene together, with an effort to expand and spotlight, is a young woman. Given that globally, the streetwear community much like most things, is extremely male-dominated and has largely always catered to male consumers.
Building a community build for women in streetwear is no easy feat, and it’s impressive that Ireti, through this huge convention is breaking that mold in Nigeria, where you’ll find that most of the prominent streetwear brands are male-owned, even though most of the clothes tend to be gender-neutral and can be worn by anyone. Alongside the event, the talented powerhouse has also collaborated with Virgil Abloh to create a limited edition shirt that celebrates young Nigerian women, which you can shop here. Speaking about the collaboration, Iretidayo shared that:
“The shirt is intended to celebrate all Nigerian women, regardless of sexual orientation, tribe, religion, and belief. “The future is female, and we really want to embrace that especially in a genre of fashion that is not always representative of women,”
So ahead of this year’s event, we spoke to the young trailblazer about what to expect at this year’s edition, her plans for the brand’s future, and the challenges that come with hosting an event under strict health guidelines. Street Souk will return to Harbour Point, Victoria Island this Sunday 20 December from 12 pm – 6 pm, featuring over 40 brands from around the country.
NATIVE: Hi Ireti, well done on the forthcoming third edition of Street Souk. How does it feel to bring back the convention for the third time running after the year we’ve all had?
IRETIDAYO: I mean it’s crazy, there’s a lot going on in the world and this year has been a particularly hard one dealing with a pandemic. We just had to do it because the show must go on as they say, and young people need something to celebrate and smile and be happy about. It’s an amazing experience to still be here 3 years after I started this. It literally started off as a passion project and didn’t know how this was going to turn out like this, but to see the growth over the three years has been amazing. Also, to be able to pull this off consistently and to still have this much backing from people and sponsors has shown me that we’re definitely doing something right and a lot of people believe in the vision.
NATIVE: When you started out, what was your vision for Street Souk and do you think you’ve been able to live up to it?
IRETIDAYO: My vision was to create a platform for new and established streetwear brands in Nigeria to work together, communicate and showcase their stuff so people can know what is going on out here and to build a streetwear community here. Globally, the streetwear community is so connected and there are always forums on social media where you can stay connected but that’s not the case here. So I wanted to build something similar for us, by us, and to be able to bring music, entertainment, fashion, and more together. Also, the people are a big part of Street Souk. There’s no Street Souk without the brands who showcase at the event or the people who attend and make purchases.
NATIVE: What are some of the biggest challenges you’ve faced since you started.
IRETIDAYO: This year has been especially more difficult than others because we have had to put a lot of COVID-19 measures in place. Now we have a whole new set-up and floor plan to accommodate for this very serious health issue. We have to do everything we can to the best of our abilities to make sure that we are following the guidelines and all the protocols given by the state government and just globally in general. Another difficult task is sustaining people’s interest in streetwear and the convention because it’s not easy to get people to come back every year, but we have just been lucky enough to find a community of like-minded people who understand the importance of our mission and also believe in our vision.
NATIVE: What do you believe your role is in documenting streetwear culture in Nigeria?
IRETIDAYO: For me, I always knew that I wasn’t creative in the sense that I would take up art or music but I knew I wanted to work within the industry. I knew my job was to bring people together, connect them, and let them meet the people they need to meet in order to get where they need to go. So I knew I had the facilities to be able to create a platform whereby I could put this into action. This was just me finding my calling in a sense. Streetwear has been the love of my life for over 10 years I would say, I’ve been in love with street culture, so this is essentially me giving back to what streetwear has done for me.
NATIVE: There are fewer numbers on this year’s selection of brands. Was this streamlined purposely to comply with COVID-19 guidelines?
IRETIDAYO: Honestly, it has been amazing but this year we had to scale down our numbers because of COVID-19. The selection process was a lot more rigorous and a lot more time consuming than before. We had to really do a lot of quality control because we want to space out all the stalls and make sure there’s enough space for people to move around freely without having to be too close to each other and maintain social distancing. We have about 50 brands coming out on Sunday, some this is their first time and for others, this will be their second or third time here. It’s just been amazing to witness the growth and change in these brands and see brands who maybe no longer exist, those who have completely rebranded from selling just T-shirts to now selling bespoke outfits. It keeps showing me how much space there is for growth in this industry.
NATIVE: What’s next for you and Street Souk?
IRETIDAYO: Let’s just say we are taking over Africa. Hopefully, we have a full African takeover that’s what I’ll say. We want to go to as many cities in the country first and then take it as far as we can. We know there’s a streetwear scene in Africa and we all just want the opportunity to connect.
Featured image credits/StreetSouk
.@tamimak_ is just trying to make it to the end of the year
The last few months have been difficult. But with only a couple of days left until the end of the year, we’re trying to find more ways to be thankful and present in the current moment. While we’re still dedicated to amplifying and reporting the issues that have plagued us this year, we’ve now resumed our column, Songs of the Day as a nod to the artists putting out great music that serve as a momentary escape from all the grimness of the current news cycle.
Our last Songs Of The Day curation featured the new releases from Tekno, Reminisce and Adekunle Gold, DMW’s latest signing, Liya, Port Harcourt rapper, Kblacktheblack, dndSection, PsychoYP, Joeboy and more. Though we’ve been celebrating the release of our new print magazine, #WizMag and the release of Tems and Omah Lay from police custody in Uganda, we are still hoping for the recovery of the schoolboys that were abducted in Katsina state. To help dissipate the worrying thoughts about their safety, we’re bringing you the latest songs from around the continent that we believe can brighten your mood. These are the latest releases from Burna Boy, Sarkodie and Zlatan, Naira Marley, Zinoleesky, Zamir, King Kay and more. Dig in and enjoy.
Burna Boy – “Way Too Big”
Burna Boy has shared the video for “Way Too Big” one of the standout tracks from his latest Grammy-nominated album, ‘Twice As Tall’. The song previously served as fuel to his public social media rivalry, and even though we may never know for sure who the lyrics were addressed at, what’s certain is Burna Boy won’t back down from a fight.
The recently released Meji Alabi-directed video finds Burna Boy doubling down, and we watch him get into a boxing ring to fight a boxer. While he performs the taunting lyrics, “Oya do am if e easy”, the video follows his growth from an ambitious child to the big boss at a press conference with reporters and sitting on top of a billboard with his face on it. We expect that the new video will reignite fans’ enthusiasm as we approach the end of the year.
Sarkodie – “Hasta La Vista” Feat. Zlatan, Rexxie
While Nigerians debate over the shelf life of the Zanku wave he started, he was being captured in the studio with Sarkodie, Fuse ODG, and other African music talents as they recorded in a studio. Sarkodie has now released a new single featuring Zlatan, “Hasta La Vista”, and with the catchy street-hop beat produced by Rexxie, the song is sure to keep the Zanku wave going well into 2021.
Both rappers take turns delivering confident bars about their mainstream acclaim and pan African appeal over the dance-driven beats. The song was accompanied by a video to show the dance floor charm of the song as Sarkodie and Zlatan join dancers in the streets to display their different dance moves.
Naira Marley – “Koleyewon”
Naira Marley is closing the year with a string of new releases including a new tape from one of his label talents, Zinoleesky, and two new singles, “Chi Chi” and “Koleyewon”. While “Chi Chi” showed a rare romantic side of the controversial artist as he confirmed that “Marlians have feelings too” and delivered wedding-themed lyrics, for “Koleyewon” he resumed his vulgar ethos as he threatens his foes and mocks them; “O lon fuck pelu street/ O ri street lo ma fuck e up”.
The video directed by WG films is dedicated to the people who were killed during the EndSARS protests. It opens with a re-enactment of officers of the law opening fire on peaceful protesters while the rest of the video shows Naira Marley playing his anti-hero persona as the president of the Marlians. We see him tracking down and torturing the officers responsible for killing the innocent civilians. Though the song’s message is vengeful, the eerie Zanku beat Niphkeys produced for “Koleyewon” is still suitable for dance floors and we expect Marlians will be grooving to this while protests against bad governance and police brutality continue.
Zinoleesky – “Angeli”
Zinoleesky confirmed he’s not playing games with his career with his debut tape, ‘Chrome’ which offered 2 previously released tracks and 4 new ones. The opening track, “Angeli” stands out as he narrated his journey from his humble beginnings to his present celebrity status; “I felt like I’m haunted/ maybe one day I will be wanted.” Singing over the lightweight Afropop instrumentals produced by Sparkzy Beats in a mix of English and Yoruba, “Angeli” showcases Zinoleesky’s uncanny ear for writing catchy melodies.
‘Chrome’ is the young singer’s debut project under Marlian Music management and he already shared videos for the tape’s lead singles, “Ma Pariwo” and “Kilofese”. We’re also likely to get an accompanying video for “Angeli” with the song’s increasing popularity.
Zamir – “Funk Spice”
Earlier this year, Zamir reunited with the rest of the LOS trio to share their 3-track tape, ‘Tribe’. However, he has since continued his solo run by sharing new singles like “Ordre Du Jour”, “4000” and his latest single, “Funk Spice” which is the first song from his coming project.
“Funk Spice” is produced by Kufré who sets Zamir in a familiar synth-led hip-hop soundscape where he performs mosh-pit inciting bars; “This shit drive them wild/ Mosh pit like we looting.” The energetic performance he delivers on the song is what we’ve come to expect from him, as he barrels through different rap references from Kid Cudi’s “Don’t Fuck Up The Feng Shui” and Jay Z’s “Dirt Off Your Shoulder”. As a result, “Funk Spice” listens like a medley and builds anticipation for what’s to come from Zamir’s promised project.
Rayge Smith – “Ebor”
Awareness about the violence in Nigeria and the government’s inability to protect innocent citizens was at an all-time high for the most part of 2020. Even the usually apolitical entertainment scenes spoke up against police brutality during the EndSARS protests in October. Rayge Smith’s latest single, “Ebor” is similarly charged as the upcoming Afro-reggae singer took on the responsibility of educating listeners on the less-discussed violence and unrest in Benue State, Nigeria.
The song was released earlier in the year and is expected to feature as one of the soundtracks for a movie, “The American King”, starring Akon and Nigerian actress, Nse Ikpe-Etim. Though the movie is scheduled for international release in 2021, the singer has now shared the official music video for “Ebor” and it captures the song’s emotive appeal for peace and promoting cultural values. The video was shot at a rural location in Benue as Avalon Okpe directed scenes showing people wielding cutlasses and ready to fight. The video also celebrated the culture and essence of the Idoma people of Benue State as his indigenous lyrics are translated into English in the video’s subtext.
King Kay – “Salida”
North-London based Nigerian rapper, King Kay has shared the music video for his 2019 single, “Salida” which means “Exit” in Spanish. It’s his 3rd release for the year, following the release of the video for “Barry” and his latest single, “Perfect Peace”. “Salida” is expected to be the lead single for his coming project, ‘Winner’s Winter II’ and the song finds King Kay narrating his experience in a toxic relationship; “she was moving crazy/ are you sure she’s even your girl”. The video directed by FORA & TWLVE sets him in a garage where he performs his lyrics with a red cup in his hand.
Though we see some shorts of his muse in the video, it’s not clear if he eventually leaves the relationship like he says he would. He explained to us in an email that “Salida is about being in a situation with a beautiful woman that you can’t with and can’t live without. While you are tired of all the BS, you can’t get over how beautiful she is and her positive attributes.”
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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
While it’s a joy to see that cypher culture is alive and well, thanks to consistent efforts such as Hennessy’s long-standing, annual cypher, these efforts in Nigeria don’t always hit the mark. In the past two years, fans have been graced with the good, the mid, and the awful, which makes it abundantly clear that there’s room for some growth.
Launched early last decade, the Hennessy cyphers took this pre-existing mode of informal rap collaboration to a higher level of popularity, becoming one of the marquee events many rap fans in Nigeria look forward to each year. In the last few years, however, the organisation and production quality of the cyphers deteriorated, and with that came a slump in interest from formerly excited viewers. Last year, however, things got a bit interesting for the scene, as a lot of people expected things to step up, on the heels of warning shots from another cognac brand, which eventually snowballed into the biggest rap beef in recent times.
Following an uninspired turn of events, however, the stakes were clearly higher for this year’s edition, and anything other than a fine showing would question Hennessy’s commitment to the growth of rap music in Nigeria. Fortunately and thankfully, they put in a commendable showing this time around. Last week, Hennessy shared three cyphers over three days (Wednesday to Friday), and it’s easily the best Hennessy cypher series in at least five years.
Featuring Falz, M.I Abaga, Vector, Jesse Jagz, Phlow and more, the 2020 edition of the Hennessy cyphers brought together 12 Nigerian rappers grouped into apparent tiers. Aided by knocking beats courtesy of veteran producer, Chopstix, each rapper performed their verses in the company of tier colleagues, with sound mixing that kept their vocals loose enough to fit into the freewheeling, showboating nature of a cypher.
From the continued cordoning off indigenous rap artists (CDQ being the only one), to almost non-existent inclusion of female rappers, the Hennessy cyphers still have a long way to go in reflecting the diverse nature of rap music in Nigeria. These are issues that need to be addressed really soon, and while it does affect the enjoyability of the cyphers to anyone who wants more than the same old line-up characteristics, this year’s edition did provide some good verses and memorable moments.
Here’s a ranking of all 12 verses that graced the 2020 Hennessy cyphers.
12. Barrylane
Here’s the thing, I like Kendrick Lamar, A LOT. The Compton-born rap superstar has grown into one of the most innovative auteurs and lyricists in recent times, so it’s only appropriate that he’s influenced a slew of rappers. But influencing doesn’t mean sounding like a direct copy. Barrylane is a direct Kendrick copy, and it’s distracting enough to put several bumps into his locomotive flow. Maybe it’s little of his fault, after all, we don’t get to choose our natural vocal tone, but at the same time Barry’s schtick seems like he memorised every inflection and vocal tick on ‘Good Kid, M.A.A.D City’ and decided to regurgitate them. There’s some interesting schemes in his verse, but… that voice.
(Memorable bars: “I’m assasinator, I don’t knock on doors/I pass the chimney but fully gifted like Santa Claus”)
11. CDQ
In a line-up alongside Falz and Show Dem Camp, CDQ seemed like a fish on dry land. Entering the limelight as a make of hit singles, CDQ has never fronted himself as a fang-bearing lyricist looking to shred beats apart with raw technique, so his posturing here seemed a bit comical. As a street-bred rapper, there’s a very high chance he participated in his fair share of rap battles, but it’s clearly been a while since he played in this sort of arena. Don’t get me wrong, his raps are adequate and the growl he employs is occasionally intriguing, but it doesn’t take too much to see that the seams are a bit off.
(Memorable bars: “I move as like, don’t want nobody bringing hell on me/ti’n ba lo ku l’eni, o d’ola won ma p’elomi” [“If I get killed today, someone else will get killed tomorrow])
10. Jesse Jagz
It’s 2020 and Jesse Jagz is still going, “characteristics of ballistics when I spit it/it’s parasitic, acidic, pacific, carries eou with it”. Depending on who you ask, this sequence is either the entry to an unknown portal, or it’s pointless and verbose. Maybe the actual answer is in between, because Jesse Jagz has worked himself into something of a mystical dark knight who only appears to work musical miracles, but if you peek in a bit closer, his lyricism can be winded and vacuous. Jesse’s best weapon is still his ability to traffic in riveting flows, which he does a monster job of on his verse, but his raps don’t have the same compelling effect.
(Memorable bars: “Can’t shake it, the flow is jaded/apparel for those who naked, hope for those who didn’t make it/the flow is initiated, body and spirit, take it”)
9. Ghost (Show Dem Camp)
As far as pure technical brilliance when it comes to lyricism, Ghost is near peerless in all of Africa (Stogie T is the only one I put on the same pedestal, IYKYK). In less than 60 seconds, the Titanic wordsmith packs expected brilliance into his verse, leaning into the commanding baritone of his voice as he drops a phenomenal Frank Lucas reference, and takes aim at mumble rap, calling it “shenanigans” like the chastising uncle that he is. (Disclaimer: I like “mumble” rap.) Usually, Ghost is adept at bending a beat to his will, but on this occasion, there are a few moments his flow is choppy, almost like he can’t control his aggression to stay perfectly on beat.
(Memorable bars: “All these artificial intelligence rappers/claiming they making moves, mistaking motion for action/this is rap vigilantism from the African garrison, far from your mumble rap shenanigans”)
8. Phlow
In a male-dominated English rap space, Str8buttah affiliate, Phlow used to feel a need to justify her place as the only woman amongst the guys. Having eased herself out of that pressure, she’s a lot more confident and comfortable playing by her own rules, and she sounds very much like the rejuvenated artist in the cypher. Right from the moment she opens her mouth, her verse unfolds like a Michelle Obama speech: articulate, poised, and dripping with so much swagger, Soulja Boy would grin with pride. She flips between casual livewire schemes and insouciant pidgin-infused raps, taking Chopstix’s groovy beat on the ride of its life.
(Memorable bars: “I mean, it’s obvious I shoot for the kill/I couldn’t care for the way the rest of them feel/two hands to the wheel, driving them crazy/been unfair with the skill”)
7. Payper Corleone
Payper Corleone’s “Don” shtick can come across a bit over-flogged, but when he’s at full tilt, he can sound quite engaging and entertaining, as he does in this year’s cypher. A regular name at cyphers and freestyles, Payper is a highly respected lyricist amongst peers and rap fans in the country, partly because he hearkens back to the “real hip-hop” ideals of the ‘90s. As last year’s ‘Fly Gangsta from the ‘90s’ showed, he’s evolving into a mix of those sensibilities and something more recognisable to the average Nigerian. For his verse, he shows how far he’s gone into that evolution, spinning a verse marked by loose, infectious flow, without slacking on the bars.
(Memorable bars: “Real life, we don’t go off hype/no pressure, dropped jewels and the flow caught nice/all my collabs dem dey go alright, because the flow so smooth like breeze wey dey blow from bike”)
6. Teeto Ceemos
Teeto Ceemos’ cypher verse is a fever dream for rap fans who understand pop culture and hip-hop-related references and can appreciate when they’re used impressively. He opens with a sinister summon of the Michael Jordan-centred documentary, “The Last Dance”, later going religious, then switching to a “Game of Thrones” callback, which eventually transforms into a sequence involving mentions for some of the greatest rap diss tracks of all time. With all of these inspiration sources, there’s an indelible directness leaking out of his bars, with Teeto’s commanding voice ensuring that every line rings out as loud as the preceding ones. Hope Hennessy paid that 2k.
(Memorable Bars: “My comments and my mentions filled with unworthy opponents/an idol to my rivals, this is your moment of atonement/Ice Cube with the flow, stay focused it’s higher learning/take your sandals off, you can smell the bush burning”)
5. M.I Abaga
M.I Abaga is a man who loves making moments. Following his viral beef with Vector, and his very public denouncement of the shoddiness of the Hennessy cyphers, his return was another moment for a rapper who’s maintained well over a decade of dominance on Nigeria’s rap scene. In the last two years, M.I has taken to cyphers and freestyles his means of airing grievances, but with no rivals to swing at, he takes the opportunity to address several pertinent issues, namely: the end of his beef with Vector, why we should all be feminists, Black Lives Matter, and the need for the #EndSARS protests to snowball into change via election polls. It’s a lot of ground to cover, but there are very few rap artists adept at being topical than M.I. While he sacrifices the clever edge he usually brings (e.g. that Ruga line on ‘Martell Cypher 2’), it doesn’t prove detrimental to his performance.
(Memorable bars: “And by the way, we all should be feminist/no man should be offended by women empowered and outspoken/who try to fix the country that rapes them and leaves them broken/we should fight for all our women instead of trying to provoke them”)
4. Vader the Wildcard
At full tilt, Vader the Wildcard raps like he’s annoyed by the notion that there’s any other rapper better skilled at weaving words and entendres together. Since winning the Hennessy VS Class competition in 2017, he’s been playing around with varying facets of his creative skill-set, but his head rattling cypher verse reinforces the notion that he’s at his most viscerally dazzling when he’s ripping through beats unencumbered. Vader’s verse is like watching Thor casually pulling down thunder with Mjolnir in order to smack the shit out of an opposition army. For about a minute, Vader sounds casually invincible, and in that duration it does sound like there’s no better rap lyricist around these parts.
(Memorable bars: “It’s the wildcard making sure you niggas have a bad day/band aid ripping gorrila, I’m on a rampage/champagne sipping with chicks that look like Tinnashe/sashay through opposition like the apache”)
3. Tec (Show Dem Camp)
Tec raps like he’s in a constant moment of clarity. Fewer rappers have the ability to say what they mean in exact words while sounding downright imperial. Partnering with a rapper who’s lyrical technique is near insurmountable, Tec has mastered the art of being artfully plain and constantly intriguing to listen to. Coming in after Ghost’s slightly fumbled rampage, Tec enters with the assured poise and nimbleness of 2012 Lionel Messi bearing down on goal. He employs a staccato flow that hugs Chopstix’s drums at the beginning, and peels away for an eye-widening salvo in the second half, culminating in a masterclass on being self-reverential without the need for unnecessary embellishments.
(Memorable bars: “With the pen I’m Joe Pesci/imagine me tryna spar with the best rapper in Lekki/that’s like, young Iwobi trying to measure with to Messi/it won’t gel”)
2. Vector
The best line of the entire cypher belongs to Vector tha Viper. “My neo-Black movement will slow bullets” is the sort of phenomenal entendre that will crack your jaw open, but maybe the best part is that Vector raps the line so casually, almost as though he’s jogging past so you can catch him. A lot of the time, Vector has a thing for overcomplicating his simplest lines, and overdramatising the complex ones. What’s stunning about his verse is that he does neither, unspooling each line with the same unceremonious vigour that makes the entire thing feel instantly special. Darting from pro-Black sentiments, to jibes at the colonial effects still plaguing Nigeria, and plain old self-exhortation, Vector’s verse is loaded without being tedious to listen to, covering a lot of ground while remaining enjoyable.
(Memorable bars: “Don’t get lost in my English story, shebi Naija na English glory/I may decide to rap in English only, the slave master pushed English on me/your weak shots can only miss me/Twitter hate won’t ignore or free me…dem carry V for head lime Don Jazzy DP”)
1. Falz
Very often, rappers get so carried away with extolling their greatness in cyphers, that they forget there’s listeners on the receiving end not only looking to be wowed, but also looking to be entertained. This the reason Falz’s verse is the best of the bunch in this year’s Hennessy cyphers. On more than a few occasions, Falz has shown he’s comfortable on the “traditional” rap tip (see: “Chardonnay Music” and much of Moral Instruction), but it’s his comic persona, complete with the Brother Taju inflections, that pops up on this cypher. Without mincing words, it’s instantly refreshing and thrilling.
Falz has always carried himself as the people’s rapper, and on a platform where other colleague is trying to prove they’re a rapper’s (or hip-hop head’s) rapper, this distinction differentiates him. In his verse, he’s as playful as he self-assured, coming across like he was genuinely having fun while rapping, instead of trying to prove any unnecessary points. He doesn’t fall into the trap of feigning aggression, choosing to assert himself through a familiar, entertaining route. For a moment, Falz considers his legacy, a weighty topic to broach in a cypher; but if there’s any encapsulation of his best self as a rap artist, this phenomenal verse is the moment.
(Memorable bars: “I’m classy to my taste buds, my choice of brown is Hennessy/I’m the type of man to buy a house before I buy some necklaces/I no dey brag, I dey show wetin I back”)
Dennis is a staff writer at the NATIVE. Let me know your favourite mumble rap songs @dennisadepeter
In 2014, 276 girls were kidnapped by Boko Haram from their hostels in Chibok Secondary School, Borno State, Nigeria. This incident sparked global outrage, with the hashtag #BringBackOurGirls emerging as a social justice campaign for the safe return of the young girls to their families. Till today, many of these girls are still unaccounted for, despite the government’s insistence that the deadly terror group Boko Haram has been defeated.
Insecurity in Nigeria has only worsened over time. Four years after the Chibok girls went missing, it was reported that 110 schoolgirls from the Government Girls’ Science and Technical College (GGSTC), Dapchi, Yobe State were also kidnapped, again by Boko Haram, from their schools. Two years later, history is unfortunately, repeating itself, as over 300 boys have been reported missing from an all-boys Government Science School in Kankara, a town in Nigeria’s northwestern Katsina state.
The tragic event occurred on the evening of Friday December 11, when gunmen on motorcycles stormed the school, engaging security personnel at the grounds in a fierce gun battle that forced hundreds of school students to flee and hide in the neighbouring forest. On Saturday morning, it was reported that over 600 of the school’s pupils were unaccounted for in the aftermath of the attack. Days later, thankfully many students have been found, but according to the Katsina Governor Aminu Masari, out of the school’s total number of 839 students, 333 of those young boys are still missing, feared kidnapped.
Parents of the missing children on Sunday took to the streets of Nigeria’s northwestern state to protest for the immediate recovery of their children. The protesting parents held placards conveying various messages, among which were ‘Government must speak out,’ ‘We want our children back’ and ‘We want security in Kankara.’ All state schools in Katsina were ordered to close shortly after the incident, and rescue missions are said to be underway to ensure the safe return of the students.
President Muhammudu Buhari, whose home state is in fact Katsina, expressed his shock at the tragic incident over the weekend, however, is yet to grant grieving and worried parents an audience despite his presence in Katsina State at the time of the kidnappings. In his place, President Buhari sent a delegation from Abuja to Katsina over the weekend to console with the state government and the people of the state over the attack. However, many Nigerians, both at home and in the diaspora, are responding with uproar at the continued insecurity in Northern Nigeria, especially children’s insecurity; the hashtag #BringBackOurBoys has begun to trend on social media, as Nigerians seek to bring global attention to the abductions.
Earlier today, terrorist group Boko Haram claimed responsibility for the abduction of the 333 schoolboys, a report by Arise News states. The Katsina government have also announced that negotiations have begun to ensure the return of the school children from the alleged abductors, whom they have yet to recognise at Boko Haram.
This is a developing story.
Featured image credits/Punch
.@tamimak_ is just trying to make it to the end of the year
Accra, Ghana will soon have their very first skatepark, thanks to the recently announced collaboration between Daily Paper, Off-White, Surf Ghana, Limbo Accra, and more. Freedom Skate Park, will be one of the ten skateparks available across the whole continent, with plans for construction slated to begin in the first quarter of 2021.
Alongside plans for the skatepark, Daily Paper is releasing a capsule collection with Surf Ghana as part of their Beyond The Return pop-up in Ghana next week. The collection will be an exclusive collaborative t-shirt with Off-White™, with 100% of the proceeds going towards the construction of the skatepark. Both collections will make their debut at Daily Paper’s pop-up store in Accra, Ghana on December 21, 2020, with a global release to follow on dailypaperclothing.comon January 15, 2021.
During the pop-up, Daily Paper will host a full house of local talent, students, creatives and tourists, through panel talks and events as well as a return of the football tournament held last year on the pitch built with Puma back in 2017.
Speaking about the collaboration, the co-founder of Daily Paper, Jefferson Osei shared that:
“With this initiative, we hope to evolve the skate culture in Ghana to the next level and give locals a platform to grow their talents within a space that will hopefully become their biggest training ground to date.
More than board sports, the park will be a creative hub for young Ghanaians to come together, exchange ideas, inspire each other and build their futures through recreational activities.
They now have a place where they can be themselves, freely develop their skills together with like-minded people and reach their true potential. Hence the name Freedom Skate Park.”
You can support Surf Ghana’s mission by making donations here.
Featured image credits/Arinzechukwu Patrick
.@tamimak_ is just trying to make it to the end of the year
For his long-anticipated, highly reverential fourth studio album, ‘Made In Lagos’, it clearly took a village to appropriately bring Wizkid’s scintillating vision to life. On his way to becoming and remaining one of the greatest superstars African music has produced, Wizkid has always aligned himself with the right set of producers and managers, who help in amplifying his innate artistic powers, constantly evolve his sound, and ensure his undeniable star power shines bright every single time.
In veneration of this collaborative spirit, the NATIVE has dedicated an entire section of the newly unveiled WizMag—a limited edition zine made in collaboration with Wiz—to discussing with several key collaborators who have worked with the singer over the years, and relatively newer ones who contributed to ‘Made In Lagos’. Titled “ROOTS”, the section comprises brief and insightful interviews with everyone who worked behind the scenes, contextualising the making of the iconic project, and the personal significance of the ‘MIL’ to them.
Acclaimed music video director, Meji Alabi of JM films details his first encounter with Wizkid (dating back to the ‘Superstar’ era), and his role as the principal visual architect behind the beloved and yet-to-be released videos off the new album. Wizkid’s managers, veteran Sunday Are and Jada Pollock, give a peek into what’s like to work with such a titan, while also sharing some of their personal philosophies. We also spoke with long-time Wizkid producers, Sarz and duom Legendury Beatz, who have evolved with the singer over the years, tracing back to the very beginning of the last decade.
More specifically, for ‘Made In Lagos’, we interviewed Blaqjerzee, Juls, Kel P, London, and P2J—who also served as the album’s executive producer—on their contributions to the new album, which has been acclaimed since its drop in late October.
You can catch all of these interviews, and more of the exclusive content off WizMag, right here.
Wizkid’s impact spans over a decade. Fans, colleagues, and friends around the world are bursting to testify of the Starboy effect and how it has affected them in their lives; for WizMag, members of our community do just that. Just as a city like New York boasts of greats such as Jay Z, Notorious B.I.G, Pop Smoke and more, so also it follows that without Lagos, there would be no Wizkid Ayodeji Ibrahim Balogun.
Lagos, the city that raised, molded, and made the boy from Ojuelegba the man we know today, is a unique cultural melting pot at the heart of arts and cultural exchange in Nigeria. Wizkid began laying down the foundations for what would become an award-winning global career at the forefront of the burgeoning afropop scene straight out of Ojuelegba
But there’s something to be said about Lagos–a city with more than enough pace and noise to facilitate people departing from traditional careers, toying with new ideas, and forming new subcultures. Laying beneath the layers of the deeply entrenched hustle spirit that the city has fashioned are those who make it out, those who create a new life for themselves and soar beyond expectation. Wizkid is one of those fortunate to have crossed the ether.
For Wizmag, different members of our community embark on a journey to capture what the city means to them, being born and raised in the same vivacious metropolis that birthed our global superstar, Wizkid. Tayo Idowu captures what Wizkid means to the city and how the singer has become the city’s cultural custodian in his decade-long run. Dennis Ade-Peter looks to the singer’s loyal fanbase, Wizkid FC, both at home and the diaspora and Toye Sokunbi helms the epic story of the Starboy from Surulere’s path to global glory.
In the past two months, citizens of both Nigeria and Uganda have challenged their governments to end unnecessary and cruel police brutality rife in both countries. Over the weekend, reports reached social media that Tems and Omah Lay were being held in custody along with Tems’ manager, Mayowa Awoniyi in relation to a concert hosted in the country by Kasana Events. The event titled The Big Brunch: Afrobeats Edition was advertised to feature both Tems and Omah Lay as the headliners of the musical night.
Ahead of the show, local artists including singer Bebe Cool had complained about the concert, citing that Ugandan artists had faced serious blows to their performance income when COVID-19 hit the country back in March. However, the concert was held on Saturday as scheduled, and shortly after, both artists were taken into police custody. The news of the arrest was shared by Kampala Metropolitan deputy spokesperson, Luk Owoyesigyire, who shared details of the artists’ arrest alongside the manager of the venue, Dungu Ivan and the events manager, Prim Kasana.
The earlier plans of releasing them on police bond, were suspended after their casefile was sanctioned by the Office of the DPP.
They were jointly charged with four other Ugandans. All remanded till Wednesday 16.12.2020.
The trio were initially set for release earlier today on police bond, however, according to the official Twitter account of the Ugandan police, their case file was sanctioned by the Office of the Director of Public Prosecutions. They were jointly charged along with four other Ugandans, all remanded until Wednesday, December 16. They are now facing charges of negligently engaging in acts likely to spread infectious diseases contrary to C/S 171 of the country’s Penal Code Act.
According to Omah Lay’s Twitter account, the trio have been denied access to a fair trial and are being remanded for organising a show they were merely invited to perform. The singer also shares that the Ugandan authorities have refused the counsel of Nigeria’s Ministry of Foreign Affairs who have been working to secure bail to no avail for the three Nigerians involved. Many Nigerian artists including Burna Boy, Olamide, Rema, Fireboy DML and more, have now shared the hashtags #FreeOmahLay #FreeTems on social media to garner enough online attention to demand better treatment of Nigerian citizens by the Ugandan authorities.
Moe Odele, an attorney heavily involved in procuring the release of #EndSARS protesters back in October, has now shared that she is reaching out to a pool of lawyers in the country to find out what can be done to help both Omah and Tems and her manager, Muyiwa.
Finally @temsbaby & @Omah_Lay are take to Kitalya prison and Tems is taken to Kigo prison, Omah Lay is taken to kitalya prison until 16 Dec2020 and the event orginisers /Promoters and they will have to appear to High Court on Wednesday pic.twitter.com/0gxe650IW1
Update: According to a Ugandan artist, Bebe Cool, Tems and Omah Lay have now been released. The singer posted a release order from the Chief Magistrate Court of Makindye, following the withdrawal of their case from court. We are glad they have been freed and are wishing them all the best.
Somewhere in the early seasons of this never-ending corona-restricted period, No Signal Radio became a mouth and earpiece for the black British community, thanks to their NS10vs10 shows which brought the much-missed party feeling to our living rooms, and drew us together as a community. This year, in addition to the pandemic, the world has been fighting another great enemy, systematic oppression of black bodies worldwide. As a result, alongside the protests against police brutality, in the West during the summer and all across Africa throughout the fall into winter, Black people at home and in the diaspora are now increasingly more mindful of where they are putting their resources, as we begin to understand just how complicit in the world’s transnational behemoths are in perpetuating the subjugation of black people all over the world.
With the Grammys releasing yet another year of questionable nominations, pigeon-holing talented African musicians who have been at the top of their game and the charts this year, the need for us to take our own narratives into our own hands, reporting and documenting and analysing our own stories, became even clearer. For so long, we have looked for approval or inclusion in spaces where we are not respected let alone represented, however, this year has taught us the importance of us doing the work, for us, by us. Proudly black-owned brands, companies, publications, radio stations, such as The NATIVE and No Signal are necessary for our culture, so that our rich history may be accurately documented and our future generations will never be denied the place they deserve.
Always doing our part to empower black people all across the world, The NATIVE and No Signal have joined forces to deliver NATIVE Sound Radio, hosted on No Signal’s radio station.
Bringing you the sounds of tomorrow: today, our inaugural show will be hosted by Abigail Adeoti, aka AB DOLLAR$, and premieres today at 8pm. In our first episode, AB$ is joined by Tobi Oke, as the two chop it up about all things music. With a guest mix from NATIVE Sound System’s Addy Edgal, who brings us tunes from Omah Lay, Fireboy, Amaarae and more, music from the show will be anchored by a historic NSR Countdown, powered by Turntable Chart. Also premiering an exclusive interview from two global stars, this first episode of NATIVE Sound Radio’s The NATIVE Pulse is one you definitely do not want to miss.
In addition to being one of the most popular disc jockeys out of Africa, DJ Spinall’s consistency has made him one of the more lauded album curators around. In October 2015, he released his debut album, ‘My Story: The Album’, he followed with an annual album drop until 2018. After taking a break last year, he’s back with his long-teased, fifth studio album, ‘Grace’. He announced the album last month, promising that it’d be a star-studded affair.
True to his promise, and as he’s known to do, ‘Grace’ pulls in a consortium of stars from across Nigeria, Ghana and the UK. Fireboy DML, Crayon, Oxlade, King Promise, Reminisce, Minz, Bella Shmurda, WurlD, Niniola, BOJ, Shaybo, BenjiFlow are amongst the vocal artists included on this project. The album features several pre-released singles, including “Dis Love” featuring Wizkid and Tiwa Savage, the Omah Lay-assisted “Tonight”, and “Everytime” with Jamaican dancehall superstar Kranium.
While previous releases saw Spinall facilitating and curating matchups between artists and music producers, this time around he’s more involved behind the boards, producing a bulk of this album. With the exhibition of this relatively new skill-set, ‘Grace’ ups the ante for a DJ Spinall album, showcasing him a creative constantly looking to evolve and elevate his musical craft.
Listen to ‘Grace’ here.
Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter
Following 2019’s successful animation remake ‘The Lion King’, Disney Plus is making plans to invest in more authentic African storytelling. The media giant has just announced its plans to launch an animated all-new African original series coming to the streaming platform in 2022. The series is a first-of-its-kind collaboration between Walt Disney Animation Studios and a Pan-African comic book entertainment company named Kugali which is run by Nigerian founders Tolu Olowofoyeku, Ziki Nelson, and Hamid Ibrahim.
The series titled ‘Iwájú’, which roughly translates as “The Future” in Yoruba, is a sci-fi story to be set in Lagos, Nigeria. One of the first of its kind, the series will highlight poignant West African stories told through animation and comic-book format, and will partner with an African start-up to bring the story to life. ‘Iwájú’ is set to explore deep themes of class, innocence, and challenging the status quo, which is very important at a time of reckoning where continued police brutality and corruption of the government birthed a movement that forced most young Nigerians to find their voice.
It’s been a struggle keeping this a secret but now that they’ve announced it, una no go hear word. My startup @Kugalimedia is making an animated series with Walt Disney Animation Studios! https://t.co/vS7IRwIBHu
Although the series is set for release in 2022, Disney’s successful past forays into African storytelling including award-winning film ‘Black Panther’, Beyoncé’s ‘Black is King’ suggest that ‘Iwájú’ promises to be unmissable moment. In addition to more representation, the series will also further cement the talent of African creatives on a global scale. With the series set to delve into such rich themes and it’s setting in Lagos, a city renowned for the fervour and hard work of its people, we can’t wait to see what a reimagined animated future without class divide could look like through African lenses.
Speaking about the forthcoming series, one of the-founders of Kigali, Ziki Nelson shared that
“This show will combine Disney’s magic and animation expertise with Kugali’s fire and storytelling authenticity. Iwájú represents a personal childhood dream of mine to tell my story and that of my people.”
Featured image credits/DisneyPlus
.@tamimak_ is just trying to make it to the end of the year
Naira Marley’s ascent to stardom has been one of the best-told stories to come out in the last two years. The game changed when he embarked on a stellar two-year run that saw the rise of hit singles such as “Japa”, “Am I A Yahoo Boy”, “Soapy” and more, leading to a string of sold-out shows both home and in the UK. He quickly established himself on the streets and online, anchored by the love of his Marlian fanbase who are now revolutionising stan culture in the country.
This year, the rapper has not weaned in delivering hit singles like the Rexxie-produced “Aye” and “As E Dey Go”, two of his earlier offerings that brought out a different, calmer side to the rapper, from his dominance of delivering club bangers and street-hop singles the previous year. To close out 2020, Naira Marley has now released two new singles to usher in the season, which more than prove that he can still be versatile and deliver the bops regardless of the subject matter.
On “Koleyewon” (roughly translated as they can’t understand), the rapper makes his boldest proclamation of his commitment to the streets who raised him and made him who he is. The upbeat single produced by Niphekys track lightly highlights the current state of Nigeria and the challenges the country has faced this year; most especially the #ENDSars movement. With an emotive video, he pays homage to the fallen victims from the peaceful protests, whilst at the same time presenting an ode to the streets we’re sure to hear in clubs.
Singing “How many boys don die for the streets/How many boys don blow from the streets”, the rapper highlights how important every life is, particularly those on the streets who have managed to survive the country despite the hardships they face. With lyrics that show no mercy to those who count out the underdog, Naira Marley promises that those who remain ignorant will eventually understand:(“Streets o ma fuck ye up”).
Naira Marley’s second offering is a more romantic cut which finds the rapper linking up with close collaborator Rexxie for the upbeat number titled “Chi Chi”. Over the medley of afropop drums and vibrant percussion, Naira Marley admits that “Marlians have feelings too” as he professes his love for a muse who he believes is hotter than pepper soup.
The rapper also seems to believe he’s quite the catch too, telling his love interest that “if you marry a boy like me you go enjoy yourself/if you curse my father it’s bye bye” he sings bringing his demands of the relationship to the table. Speaking about the single, Naira Marley shared that:
“My fans are waiting for me to drop a December jam, so I’m giving them two jams. They want to hear from their president. These songs are how I’m feeling now and I want to share it with my Marlians, lets get lit”.
Featured image credits/MannyJefferson
.@tamimak_ is just trying to make it to the end of the year
In the summer of 2019, Kabza De Small and DJ Maphorisa delivered their first joint project, ‘Scorpion Kings’, a widely acclaimed body of work which helped further the amapiano agenda into the mainstream. Subsequently, Kabza and Maphorisa have adopted the title of that first project as the moniker for their producer duo, going on to release four more projects, with the latest being April’s ‘Once Upon A Time in Lockdown’.
Taking a short break from their prolific run, partly due to the release of Kabza’s phenomenal debut album, ‘I Am the King of Amapiano: Sweet & Dust’, the Scorpion Kings are gearing up to release ‘Rumble in the Jungle’, a joint project with South African singer Tresor. Since his 2015 debut album, ‘VII’, Tresor has grown into one of the most acclaimed voices from the southern parts of Africa, winning several awards, including album of the year at the South African Music Awards for his 2017 album, ‘Beautiful Madness’.
In anticipation of ‘Rumble in the Jungle’, which will drop in February 2021 via Platoon, the trio have shared the lead single, “Funu”, to give listeners a taste of what to expect. Intersecting between lush and booming, Kabza and Maphorisa lay down a chugging groove driven by a buoyant percussion pattern, and shimmering piano keys to give “Funu” a disco sheen. Having already repurposed disco-funk on his last, retro-inspired album, ‘Nostalgia’, Tresor traces the contours of the entrancing soundscape with his viscous falsetto, singing with a palpable sincerity as he seeks reconciliation from a wronged partner.
As the first peek into ‘RITJ’, “Funu” hints at a combination that aggregates the heartfelt writing and soulful vocal stylings of Tresor’s sensibilities with the dance leaning of amapiano. From “Nana Thula” to “eMcibini” and several collaborations with Sha Sha, the Scorpion Kings have proven adept at meshing finely with soul-leaning singers, an ability they will no doubt lean into for the upcoming joint project.
Listen to “Funu” and pre-add ‘Rumble in the Jungle’ below.
Dennis is a staff writer at the NATIVE. Let me know your favourite Vigro Deep songs @dennisadepeter
For the better part of the last decade, Tekno has simultaneously defied and played into the conventions of the Nigerian music ecosystem. After gaining nationwide attention in early 2013 with the Davido-assisted hit single, “Holiday”, the singer continued to operate a singles-based run, leveraging on the norm of dishing out hit songs to stay relevant as one of the bigger artists and social truth-tellers of the times.
During this period, fans clamoured for a debut project from the singer, and now it’s finally time. Announced about a week ago, Tekno has finally released his long-awaited debut album, ‘Old Romance’. In a press statement accompanying the release, the album is described as an ode to traditional, simple love, a strong forté for Tekno as proven with megahits such as “Duro” and “Pana”. The album is pegged to tell the classic tale boy meets girl, tracking the early moments when their paths cross, the inevitable challenges, and the happily ever after.
With this context, it seems as though the singer intends for his debut LP to be concept-driven, as opposed to solely being a grab-bag of hit songs, as projected by many. The recently released, celebratory single, “Enjoy”, is included on the album, alongside 13 new tracks with no guest features.
Listen to ‘Old Romance’ here.
Featured Image Credits: Instagram/teknoofficial
Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter
