Review: Amaarae’s ‘The Angel You Don’t Know’

There were several indications that Ghanaian-American artist Amaarae was about to release one of the best albums to come out of Africa this year. Months before whispers of a new album began to fill our timelines, she conducted a week of weekly Sunday Instagram live sessions with her fans, answering questions about herself, other times teasing new songs, both concerted efforts to include her growing fanbase in her creative process. Very soon, hushed whispers turned into singles, and we were joining the singer to demand for space on the self-isolation anthem “LEAVE ME ALONE”. When the song was released, she explained in a tweet that the song was “for the young OGs to smoke and be happy to”, speaking volumes to the socially distanced days that defined this year. Two months later, she had followed up with another single, this time taking more risks and adopting the jaded attachment of a rapper on “FANCY”. By this point, the rumours were confirmed, there was an album incoming and it would be dedicated in its entirety to the bad bitches. Three years since her debut EP ‘Passionfruit Summers’, the project that put her on the map and at the centre of conversations surrounding neo-soul in Africa, she’d merely been skirting the periphery of superstardom but with her debut album, her place in the zeitgeist of the new afropop vanguard would be cemented. And boy, did she deliver.

 

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‘The Angel You Don’t Know (TAYDK)’ is at its best an afro fusion affair involving a range of genres, pulling inspiration from wherever Amaarae sees fit. We find her dipping into Southern rap on records like “CELINE” and “FANCY”, before plunging into unmistakable rhythmic afropop on numbers like “SAD, U BROKE MY HEART” and cooing sultry-r&b on “PARTY SAD FACE/CRAZY WURLD”. It’s a thrilling musical adventure, taking listeners on a sonic journey entirely of Amaarae’s design, where nothing is off limits and there’s no boundary to which sounds can be pushed for the sake of making sweet music. But Amaarae has been inching towards this subtly for quite some time. It was her voice on AYLO’s “Whoa” that opened up the floodgates for her rise, with an unmistakable once-in-a-generation voice, she was soon making music that was fun and fresh from moment to moment at a time where the alternative scene (dubbed the alte scene) were making their mark on the music industry. That year, 2017 as I like to recall, the internet and its possibilities were teeming and a young generation of artists were discovering that they could bypass the labels and the gatekeepers entirely. They would release their music on Soundcloud and tap directly into their millennial and Gen Z audiences–young people like them who had grown tired of the stringent rules that defined African society, bringing a fresh modern outlook to everything from fashion to entertainment and music. Names like DRB, Odunsi The Engine, Cruel Santino, Zamir, Lady Donli and more were standing at the beginning of what would be their most defining era. But not all things are synonymous to Lagos or Nigeria, despite what you may have heard. Over in Ghana, acts like La Meme Gang, Joey B, Odartei and Amaarae were building their own fan base, oftentimes crossing borders to Nigeria where they found a home in the scene. Amaarae would try her hand at a retromaniac string of singles and features over the years– lending a major guest verse on Santi‘s “Rapid Fire”, an impressive sex-positive bop on Odunsi the Engine’s “Body Count” and even Kojey Radical’s “Sugar”, she was an unmissable force, making the kind of music that sounded like it would fit in amongst the neo-soul ready sounds of artists of similar ilk such as Jhene Aiko, SZA and more.

Now three years later, the scene is no longer being shortchanged. Cruel Santino has since been chopping it up with the team at LVRN, Odunsi the Engine is on the tail end of sold-out shows in the UK and the experimental ‘Everything You Heard Is True’, AYLO has a new EP in the works, and all around these parts, alternative music seems to be finally be thriving. In fact, the scene is flourishing and enjoying near mainstream success, a feat that not many envisioned at the time. In the space of three years, more homegrown alternative acts are popping up and not just in Nigeria, the alternative scene is thriving in communities around the world, finding roots everywhere from Kampala to Accra, especially in Ghana where artists like Nxwrth, Rdvical the Kid and more have released stunning bodies of work this year already. It seems like the right time, the best climate for a new Amaarae project and the singer delivered, showing the girls and boys just exactly how it’s done. In her album’s press release, Amaarae highlighted that her creative process was achieved through “[striving] to colour outside the afro-pop parameters and re-define for myself what it means to create African music”. And staying through to this, numbers such as “TRUST FUND BABY” where she audaciously sings “Trust fund baby with this pussy, nigga you should feel privileged” over a cloud rap beat brazenly stray beyond what society has come to expect on Afropop records.  African music, which is largely seen on a global scale as anything synonymous to “afrobeats” only tells one side of a multifaceted sonic story. Amaarae, who has been existing outside these parameters already, portends her global success by segueing effortlessly between a myriad of genres, blurring the lines between what’s mainstream and what’s alternative. But this won’t be a novel occurrence, she’s always been an afro-fusion dream, never needing to chip at any part of herself to endear to a global audience, Amaarae has always been ready for a moment like this, all that she had to do was step into her (superstardom/bag?)

But Amaarae could not have known the year would take such a plunge. At the start of the year, a global pandemic would force life as we know it to a halt, disrupting live shows around the world, adversely affecting streaming revenue at a point before we began to find innovative ways to drive revenue in a new normal. But a distinct type of music soared, with the clubs closed, hard hitting amped-up party jams just were not quite cutting it, forced to stay indoors listeners were tuning into slower paced songs, finding solace in the serene hallways of r&b and alternative music. Here in these parts, listening habits seem to have somewhat been affected, though there is no quantifiable data, artists like Omah Lay, Tems, SOLIS, Ictooicy, Maya Amolo and more, have found themselves garnering considerable fanfare and increased streams for their slew of music. Currently, Tems’ single “Damages” sits at the #8 spot on the Nigerian Turntable charts and #12 on the official UK Afrobeats charts, a remarkable feat for an artist who has never performed any live shows abroad.

Similarly Omah Lay has established himself as one of Nigeria’s most promising contemporary artists all within the space of a few months and with just one project under his belt. It’s ostensibly been a great year for pitched-down rhythmic music, the likes of which may well have gone under the radar in normal circumstances but there’s nothing normal about the year we have had. Perhaps this is why Amaarae, an artist who once operated firmly within the hallways of neo-soul and bedroom pop on ‘Passionfruit Summers’, has emerged three years later on ‘TAYDK’, as one willing to take more sonic risks and expand her multiverse. If there was ever a more clear case of an artist modifying the intricacies of their craft, Amaarae would be the poster child. Hearing Amaarae on a record is akin to reaching the end of a hazy dream, her voice is reminiscent of the type of music you’d expect to hear at an inexplicably cool party and she plays this well by coyly singing about sensuality and sex in honeyed tones. 

If ‘TAYDK’ was a canvas then Amaarae has completely gone crazy with her paintbrush and covered every inch of it with vibrant colours. Immersing listeners into a world entirely of her own making, ‘TAYDK’ feels like an arrival of some sort. Though short, running just below the 40-minute mark, Amaarae stretches her voice without limits, creating a commingling of Afropop, cloud rap, r&b. She starts off the album with grit and intensity, snarling the words “fuck it up sis” on the project’s intro “D*A*N*G*E*R*O*U*S”, a sharp contrast to 2017’s ‘Passionfruit Summers’. Instinctively, listeners know to leave all expectations at the door, the thrilling snippets of hardcore punk present a portrait of who she’s growing to be on this record. An artist coming out of her shell, and brimming with megastar promise through the entire 14-tracker.

Described as “non-stop affirmations and incantations 4 bad bitches”, ‘TAYDK’ is punky, femme and sonically uplifting, on “JUMPING SHIP”, Amaarae admits nursing feelings of infidelity when she’s on a night out, we see her pining for a chance to switch partners, a theme that continues to the Moliy-assisted “FEEL A WAY” that immediately follows it. Her intentions are more direct and sensual, she sings “I wanna take you to my condo, I wanna fuck you but I don’t know” embracing her inner fuck boy and entertaining whoever looks good for the moment. Here, nihilistic party girl anthems have a new appeal, on “HELLZ ANGEL”, she’s cocky as ever singing “Racks on racks I bleed/try test me, bitch please”, a cocksure boast that is in sharp contradiction to the lover girl persona she wore proudly on 2017’s “Fluid” and “Sunday”. Here, Amaarae moves through highs that last on end going where the party is at as she declares on “FANTASY”. The album is at its core, a hallucinogenic high in sound and form, she doesn’t wish to be alone smoking marijuana on “FEEL A WAY” because she’s inebriated, then swallows mind-numbing pills on “PARTY SAD FACE/CRAZY WURLD” with Odunsi The Engine before disputing the use of drugs all together on “HELLZ ANGEL”. Whether there’s been any use of trippy substances is far beyond the point, the airiness of her voice is made to sound like one, bleeding into the futuristic psychedelic productions on the album courtesy of Rvdical the Kid, Kyu Steed, Yinoluu, and Kuvie among others. 

On ‘TAYDK’, Amaarae’s focus never strays beyond the world she has created, remaining within the confines of her own experiences. She contemplates buying her mama a Bentley on “HELLZ ANGEL”, a telltale sign of success for any rapper, then elsewhere on “JUMPING SHIP” she toys with the idea of leaving her partner while inebriated on liquid luck at the function and later coyly asks to be held down by a love interest on “3AM”, but outside this, she never strays too far from the pure adrenaline of getting up to no good, of longing for someone who’s heart can’t be trusted and fucking your worries away and she doesn’t have to. You move as the lyrics are uttered to build towards a deeper narrative albeit one that doesn’t take itself too seriously. One of the markers of good pop music is it’s sonic feel-good quality which all but demands you dance to it. Listening to some of the greatest pop stars Ariana Grande or Katy Perry is an aural experience made memorable by recognisable uptempo soundtrack a night in an appropriately humid club. The same can be said of Afropop artists like Davido, Wizkid, and now Amaarae whose albums this year have dealt with less serious subject matters but which still deserve to be enjoyed for music sake. They operate within a genre that seeks to get the clubs or dance floors moving, and if they so choose to stray out of these confines, as artists like Burna Boy often do then that’s entirely up to them. Speaking to Pitchfork, Amaarae shared that: “I was thinking, what do I want to say to people or how do I want my message to come across. Then I got to the point where I didn’t even care. I don’t have to have depth, I can also just have a good time making music that people can also have a good time listening to and that was eventually what I arrived at”. The result is ‘TAYDK’, a moody collection of avant-pop pieces where the one thing on Amaarae’s mind is enjoying life’s pleasures as she boldly revels in her latitude. All this irresistible sex might be too much for many of us, especially given that we’re still in a global pandemic that has put on pause many intimate casual activities. But Amaarae’s duty here is to run us through what could be on offer if things were different in a drowsy, pacified tone.

She employs a variety of forms on ‘TAYDK’, at one moment mashing up r&b with afropop and at other moments sprinkling in bits of cloud rap, a nod to her earlier days as a rapper. ‘TAYDK’ in its entirety, often reads like a commingling of all her backgrounds as she flips between tones and dialects, a nod to America and Ghana, her two homes growing up, and Nigeria where she was catapulted into public consciousness. But there’s no denying that the album shows her growing ability to integrate her multi-facets into her work. Whether that’s by asking for to fuck or by inviting a lover to fall into her arms, she’s showing a clearer picture of the artist we see today. Amaa Serwah Gaafi clearly has many sides to her personality. Artist’s personalities are an important facet of how fans relate to them, female artists especially have used personas to communicate different sides of them and different sounds that accompany these alter-egos. We’ve seen Beyonce and Sasha Fierce, Megan thee Stallion and Tina Snow or Suga and even Nicki Minaj with Roman Zolanski and Lady Donli as both Cash Mummy and Space Whore. Though Amaarae does not outwardly purport any new alter-ego’s (there’s still a case for making Hellz Angel her moniker), she’s more willing to share the full range of her personhood. She shared recently that “In many ways people are getting to know a really delicate, multifaceted version of me – my mission is that they meditate on it, enjoy it for what it is and allow some of these records to be the soundtrack to some beautiful memories in their lives.” Earlier in the year, when I interviewed Odunsi the Engine, we discussed a similar conundrum with artist-fan relationships. As someone who’s endlessly been scrutinised for the stylistic changes he employs, he was never too worried about alienating older fans if it meant sacrificing his sonic and personal growth. But where people were more apprehensive about The Engine’s, the opposite can be said of Amaarae who has been fully embraced since ‘TAYDK’ was being teased and even more so now that it’s out. Speaking to day one Amaarae stans from Ghana, a group popularly known as Raenbows which has been operating since mid-2018, I’m told that “it’s been incredible to see Amaarae go from a new, but well-loved artist from Accra become the rising international star she is today. Collaborations with other artists have definitely played a big role, especially in growing the Nigerian fanbase! We’ve seen a lot of love from Naija Raenbows recently, and only hope that the momentum continues and more people around Africa and the world find and love Amaarae’s music”. 

Production-wise, Amaarae gets comfortable with the darkness. In stark contrast to ‘Passionfruit Summers’, listening to ‘TAYDK’ can be a bit eerie especially at moments when L.A. artist Gothic Tropic punctuates the air with her shrill screams. But right from the album’s title, you’re reminded that suffering and joy often exist in tandem. Amaarae juxtaposes a familiar saying replacing the devil you don’t know for an angel, accepting that although there may be darkness lurking underneath in numbers like “DAZED AND ABUSED IN BEVERLY HILLS”, that doesn’t make her any less of an angelic being, we all have a bit of darkness in us. Instead of softening her truth, Amaarae is forthcoming about the details. She’s taken the drugs or has lost herself on the dancefloor to numb the pain, it’s a hedonistic cure, but a cure all the same. Afropop–a genre typically upbeat and catchy to match the equally vibrant lyrics is stretched to include even the most distressing of topics. It’s evident that there are no rules when Amaarae is in her zone and her close work with a myriad of producers from around the world brought the vision to life. Speaking to Yinka Bernie, I’m told that Amaarae knew exactly how she wanted “SAD GIRLZ LUV MONEY” to sound, giving him details of the heavy drums and chords she needed to pass across her message. “I had this in mind when I was making the beat and It just worked out together to be a distinct afropop number. I think it was a nice inclusion in the project overall, it’s very bumpy and danceable and sad gurlz (and boyz) do love money so yeah,” he reveals to me. 

Clearly, Amaarae’s deep understanding of her own psyche results in music that’s equal parts fiery and reflective. She’s created her own planet and we’re just visitors, admiring how she bends genres to her desired outcome, a detail that seems to now dominate so many conversations surrounding her. All these years later, Amaarae has delivered a record that scratches far beneath the surface of her persona and it’s a stunning debut that takes into account the multi-layered experience of being a Gen Z creative in the world today, from sexuality to shenanigans. This is what sets this project apart: a rare and rounded glimpse into her world. And as she accurately croons on the album closer “PARTY SAD FACE/CRAZY WURLD”: “[she’s] a crazy girl, [she’s] come to rock the crazy world”. 

#StopPoliceBrutality: Violence erupts in Uganda leaving more than 30 dead

Posted on by The Native

On Thursday, protests erupted in Uganda following the arrest of presidential candidate and musician Robert Kyagulanyi Ssentamu popularly known as Bobi Wine. The presidential aspirant was arrested on Wednesday by armed forces, with the authorities citing his continued violations of the Electoral Commission and Ministry of Health guidelines during the political campaigns as the basis for the arrest. According to a press statement by Ugandan Police, Wine was actively involved in the massive mobilisation of unauthorised assemblies and processions amidst the threat of Covid-19 in Uganda with the majority of the participants in attendance disregarding the use of safeguards such as facemasks, physical distancing, and proper hygiene.

Since then, the Ugandan people have been in an uproar, as news of his arrest reached news outlets and social media. Many came out in droves, throughout major cities like Jinja and Masaka, and also in the capital, Kampala, to raise their fists and voices against the sufferings endured by the people, under the reign of President Yoweri Museveni, who has been in leadership for over 30 years. Their anger was fuelled by the fact that Wine had been arrested multiple times in the past year since he announced his intention to compete against Museveni in the forthcoming 2021 elections which will be held in two months.

Whole conversation has been looming all month, demonstrations officially began on Wednesday, as angry protesters shared footage of crowds burning tires and blocking major highways, with additional reports of looting and vandalism in many cities. Much like it was during the #EndSARS protests in Nigeria, the Ugandan police are reacting with more violence, aiming to stifle the voices of the protesters. Officers used tear gas to disperse the crowds, and many have been pronounced dead as a result which has caused unrest throughout the past week. Ugandan police have said they had arrested several people in connection with the violence, which reportedly left 16 dead and several others badly injured. According to Kampala Metropolitan Police spokesperson, Patrick Onyango, the toll will likely continue to rise as over 65 have been left injured and over 350 detained throughout the capital, Washington Post reports.

The Human Rights Watch has said that it is clear that the Ugandan authorities are using Covid-19 guidelines to repress opposition and that the governing party itself has held large campaign events. Uganda’s political history is steeped in violence, uprising, and corruption for many years. Having come into power in 1986, President Museveni is one of Africa’s longest sitting presidents and he has presided over the East African nation for several decades, following dictator Idi Amin.

Bobi Wine, on the other hand, has won the hearts of the people since his decision to run for presidential office. According to AlJazeera, many young supporters have said that they are drawn to Bobi Wine because of his criticism of Museveni’s government often integrated in his music lyrics. Others have said that as a young leader, Wine is better positioned to tackle the challenges the country faces. Known by supporters as “the ghetto president”, Wine is said to be running on a platform of change and a promise to oversee a “people-centered” government that would ensure equal access to education, health care, and economic development. Uganda, like many other African nations, has never witnessed a peaceful transfer of power during their presidential elections and it seems like next year will be no different. Museveni, 76, is eligible to seek another term next year after he changed the constitution during his presidency and removed the age limits on running for the presidency.

 

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According to reports from citizens on the ground, the government has now employed several tactics to continue terrorising citizens since the protests broke out earlier this week. Innocent people are being beaten, harassed, arrested and much worse, killed for their involvement in the protests by the armed forces charged to protect their lives. There are also reports that electricity has been cut out in some parts of the capital city, and many are stuck indoors due to a 9 pm curfew.

It is clear from continuous grievances over the world that police reform (or abolition) is completely necessary. As Ugandans continue to face death or attack for voicing their opinions, here are some ways that you can help out from wherever you are.

Use and Engage with the hashtags

Social media is the fastest way to disseminate information about what is happening around the world. Ugandans are already generating buzz for the injustices taking place in their country under the following hashtags #UgandaIsBleeding #EndPoliceBrutalityInUganda #FreeBobiWine

Contact your nearest Ugandan embassy

If you’re not in Uganda, you can still help out by contacting a Ugandan embassy in whichever country you currently reside in. For the purpose of this post, we have included the details of the Ugandan embassy in Abuja, Nigeria below.

Address:  UGANDA HIGH COMMISION
PLOT NO. 3 MANDARA CLOSE, OFF MAMBILA STREET
ASO DRIVE, P.M B 223
MAITAMA, ABUJJA
NIGERIA

Phone:   +234 (0) 8132666559
+234 (0) 8142443429

Email: highcomabuja@yahoo.co.uk

The High Commissioner: H.E Nelson Ocheger

Email: nelson.ocheger@mofa.go.ug

This is a developing story. This post will be updated with relevant information.

Listen to Lady Donli’s two-pack single release “Rockstar Parole”

Posted on by The Native

A year and three months–that’s how long it’s been since Lady Donli released her star-studded debut album ‘Enjoy Your Life’, the album that catapulted her to the fore of conversations surrounding retro-inspired afrocentric rhythms. Since then, the Abuja-based artist has been strutting with palpable confidence, racking up features with heavyweights such as Davido on the remix to her album standout “Cash”, starring alongside Bey-T, Ruth Ronnie, Trina South, and more for emPawa Africa’s “Kalakuta” and linking up with Ghana’s Darkovibes for the silky number “Wonda Wonda”.

But as the Enjoy Your Life artist looks towards the next phase of her career, she’s ready to evolve yet again, leaving the jovial effervescent Cash Mummy persona we have come to know and love this past year, for the new and improved Space Whore, a persona we’ll indisputably learn more about when the time is right (the album is 60% done). Ahead of this, Lady Donli has now shared a new two-pack release titled “Rockstar Parole” to commemorate the official passing of the baton from Cash Mummy to Space Whore, signalling the end of the EYL era. No, I’m not crying, you are!

 

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The primary single in the two-pack release is the mid-tempo number “Rockstar” which finds Lady Donli narrating the story of her life since attaining rockstar status with the release of EYL. Gloriously produced by Kingsley Okorie from the Cavemen, the song’s bedding of smooth afropop drums and keys provides the perfect background for Donli to speak about her current reality.

She sings “I’m a rockstar so I need a baddie, not just anybody” on the song’s hook, sending a message to the people blowing up her phone to respect her space and her rockstar status. With compelling vocals throughout the number, she manages to fill the shoes of the rockstar lifestyle she purports by leaving behind whatever seems to be hurting her from her past ting, calling up her friends (shoutout Ayo Lawson), and hitting the clubs to have a good time. Her message is simple and her mission is clear, if you ain’t a baddie, don’t call her line.

The EYL era would not be what it is without its reference for old skool Nollywood and ’90s Nigerian music and the second offering in the pack titled “Parole” brings some of that much-needed nostalgia. On the mid-tempo number, Donli interpolates the legendary line from noughties afropop singing “I dey gbadu your parole” in the song’s opening moments, a line that famously featured on E.M.E’s 2012’s single “Sun Mo Mi”.

Donli harkens back to this era, delivering a bop that is reminiscent of those times but still capable of commanding many ears today. She’s suggestive as ever on this record, inviting her muse to surrender to her and willing to also lose herself in this person as well. She sings “Anywhere that you go/you fit lead, I go follow” over the propulsive rhythm putting herself on the menu and running through what’s on offer for the night.

Speaking about the new releases, Lady Donli shared:

“I said these songs are the last 2 from the EYL era. This the end of an era because album 2 is officially OTW.

I keep trying to explain, you can not box me. I created the box. Every time I create a new project, it’s a new sonic, I take on a new identity. Everything deliberate.”

She’s also shared the accompanying Lester Millado-directed music video for “Rockstar Parole” which sees Space Whore enjoying the fruits of her labour while living it big on set. Though we’re sad to see the end of an era, we’re even more hopeful for what she’s got cooking up next. As we’ve now seen from the visual feast, our bet is that Space Whore is here to slay.

You can watch the video for “Rockstar Parole” below.

Featured image credits/Yao_i

.@tamimak_ Is a Staff Writer at The NATIVE and a proud BARBZ! Tweet me your fave Nicki lyrics

ICYMI: The importance of women sharing their experiences through music

Songs of the Day: New Music from Tekno, Cuppy X Stonebwoy, Black Coffee X Pharrell & more

Posted on by The Native

The last few months have been difficult. In the backdrop of an ongoing pandemic, Africans across the continent have taken to the streets to protest against myriad of inhumane conditions, from police brutality to child labour and gender-based violence. While we’re still dedicated to amplifying and reporting on these causes, we’ve recently resumed our Songs of the Day column as a nod to the artists putting out great music that serve as momentary escape from all the grimness.

Our mid-week curation included new releases from Timaya, Runtown, Gafacci and more. This New Music Friday, we’re bringing you new drops from Tekno, Cuppy, Black Coffee, Samthing Soweto and more. Dig in and enjoy.

Tekno – “Enjoy”

After years of keeping us waiting, Tekno is reportedly ready to drop his debut album. Before it arrival, though, the singer/producer is putting out feeler tracks, releasing the new, loosie single, “Enjoy”, which taps into the sort of playful energy that has powered some of his biggest hit songs. On this single, Tekno fashions himself into an ambassador for enjoyment, openly championing his right to live his best life without unnecessary interference. “If you no want make I happy o/something go do you/water go choke you/thunder go yawa you”, he energetically chants atop Blaise Beatz’s frenetic drums, highlife guitar rhythms and blaring horns. There’s no mistaking Tekno’s intentions on “Enjoy”, and it translates into an infectious, feel-good jam.

Black Coffee – “10 Missed Calls” (feat. Pharrell Williams & Jozzy)

Legendary South African DJ/producer, Black Coffee has set a February 2021 release date for his sixth studio LP, ‘Subconsciously’. The album is expected to pack a punch in terms of star firepower, and the latest single, “10 Missed Calls”, is emblematic of the weight of Black Coffee’s phonebook. The new song features American singer-songwriter Jozzy (co-writer of Lil Nas X’s “Old Town Road”) and a coveted, much raved about appearance by highly revered producer/singer, Pharrell Williams.

Like he usually does, Black Coffee flaunts his singular abilities as house producer, while also creating enough room for his guests to put on striking performances. For “10 Missed Calls”, he folds soulful piano lines into a deep house-indebted bassline, creating the perfect atmosphere for emotive performances from Pharrell and Jozzy. Together, the pair depict the difficulty of moving on from a romantic entanglement, even if the other person isn’t putting in much effort. “Feelings that I had are slowly fading/did you know that I tried my best just to let it roll”, Jozzy sings in a mournful tone, taking up the significant portion of the song, while Pharrell sticks to the refrain, as well as the opening and closing parts of the song.

Cuppy – “Karma” (feat. Stonebwoy)

‘Original Copy’, the debut album by DJ/artist Cuppy, spawned its fair share of pleasant surprises, like her competent singing on the Stonebwoy-assisted “Karma”. While her guest takes charge of the song in the beginning, Cuppy confidently shows up with well-tuned melodies over Killertunes’ dancehall-inflected beat. In the newly released music video for “Karma”, her perennially bubbly persona is refreshed by a self-assured candour, as she sings her part in her party setting, while performing eye-catching dancing routines.

Samthing Soweto & De Mthuda – “Weekend”

Samthing Soweto’s breath-taking appearance on Sun-El Musician’s “Akanamali” ushered in a creative and commercial renaissance for the South African singer. Infusing more pop, house and amapiano elements into his already established preference for soul, his 2019 album, ‘Isiphithiphithi’, became a resounding success, spawning multiple hit songs and winning Best Afro-Pop album at the 2020 South African Music Awards. For his first release since the album, he’s teamed up with prolific amapiano producer/DJ, De Mthuda, for a bubbly cut titled “Weekend”.

Dedicated to the carefree, party-hopping antics best suited for weekends, Samthing sings of the anticipation that builds up towards the end of a working week. Although he sings entirely in isiZulu, the cheeriness in his voice is palpable and immediately infectious. Equally integral to the song’s enjoyability, De Mthuda’s groovy production pairs a bewitching bassline, bouncy pads and shimmering keys that tickles at the ears. Samthing has become one of the more coveted vocalists to work with for house music producers in SA, and the synergy he effortlessly forges with De Mthuda on “Weekend” is more proof of the traits that makes him special.

Herman $uede – “Medawase” (feat. Navio)

Despite the constrictions of the ongoing global pandemic, Herman $uede has spent this year consolidating on his breakout in 2019. On his fourth single of 2020, “Medawase”, the teenage Ghanaian singer celebrates his ongoing rise to mainstream popularity, appreciating the love of his burgeoning fan base in the process. Accompanied by Yung D3mz’s groovy and boisterous beat, Herman recounts the days when he used to post his music to no comments, while relishing the growth he’s gone through in the last few years. “Medawase” also doubles as the singer’s first pan-African collaboration; it features a stellar 16-bar verse from Uganda rap veteran, Navio, who uses his appearance as a victory lap for all his accomplishments.

King Perryy & Kizz Daniel – “Waist”

On his previous single, “YKTFV”, King Perryy showcased his diverse skillset and flair for experimentation, tapping into the drill sound for a rollicking banger. For his latest single, “Waist”, he’s teamed up with afropop superstar Kizz Daniel for a catchy song that edges closer to the dancehall-inflected style that broke the singer into mainstream consciousness. “Look at your waist, look at your back”, Kizz Daniel and King Perryy take turns singing on the hook, using preppy melodies and scarcely veiled innuendos in favour of their lust-driven intentions. Accompanied by brassy, full-bodied production, both singers meld their styles into a fluid and excellent whole that works in service of a club-ready banger.

JujuBoy Star – “I Dey There”

With just a handful of singles under his belt, JujuBoy Star is still working in prospect territory, but it says something of his potential that he’s been announced as the latest signee of longstanding label, Aristokrat Records. The Nigerian singer has just made his major label debut with “I Dey There”, a new single that showcases his ability to wrap romantic narratives into catchy bops. Produced by Kel P, the combination of a stumping bassline, whirring bass guitar, and occasional horn riffs, form an energetic backdrop for JujuBoy to confess his undying commitment to an aloof love interest, with understandably corny lines like, “Girl, I’ll lie for you/give me special loving, I’ll die for you”. “I Dey There” serves as an impressive introduction to a wider audience, and a forecast of better things to come from JujuBoy.

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

ICYMI: NEW MUSIC FROM RUNTOWN, TIMAYA, CHEQUE & MORE

Five fans share take-homes from ‘A Day in the Live of Wizkid’

Posted on by The Native

No social media platform does the ‘social’ quite like Twitter. Rightfully touted as one big group chat, the Twitter space feels hyperconnected, and in real-time too. Though we largely do exist within echo chambers, and certain demographic groups are hardly exposed to the other, when big events pop off, it can feel like the Nigerian community or the black community are all united on Jack’s elite cyberspace – sharing jokes or engaging in debates amongst friends or with total strangers, even. Yesterday, when CNN released their investigation of the #LekkiMassacre we came together to comfort one another as the documentary re-opened a wound most of us have hardly healed from. Tonight, with YouTube’s airing ‘A Day in the Live of Wizkid‘, we were united as Nigerians once more, this time, in an uplifting celebration of our brightest star, Wizkid Ayo Balogun.

Almost a month ago now, Wizkid finally released his fourth studio album, ‘Made In Lagos‘ – a formidable fourteen track ride through the matured sounds of the destined ‘Superstar‘. Teasing the project for almost three years now, ‘Made In Lagos‘ was received by most – including the show’s host, Julie Adenuga – as “well worth the wait”, and Wizkid has been capitalising off this high, ushering out a steady stream of content to fans in the days since. Including more merch with Puma and more insta stories suggesting another new album, powered by YouTube, ‘A Day In The Live’of Wizkid‘ has, so far been the highlight of Wizkid’s post album promotion, as we are secured an exclusive, never-before-granted, all-access pass into Wizkid’s life. Live streaming Wizkid’s evening leading up to his virtual concert, the YouTube Originals showing also gave us BTS glimpses into Wizkid’s days from even before the album’s release; studio sessions, the album cover shoot, the making of the music video for “Ginger” (which we’re praying will be out soon) and more.

Having never had this much access to Wizkid, obviously, we were all tuned in eagerly digesting every new revelation about the rather private musician. From finding out that his father is responsible for his big drip mindset to watching him jam Tekno and Future, whilst watching ‘A Day In The Live of Wizkid‘ I learned so much about my GOAT, and from the Twitter reactions, it seems that many other Wizkid FC members were lapping up this Starboy education too. So, I hit a few keen watchers up to find out what their biggest take home from the live documentary and performance was for them. Some were inspired mostly by the music, others in awe of Wizkid’s unparalleled talent; I found myself boasting that Wizkid and I have the same top two on ‘Made In Lagos‘, “True Love” and “Blessed”.

@Deevybz: Wizkid is Graced.

1) Anything he lays his hands on always comes out positive. I never expected him to pull much crowd and be the talk of the night on Twitter tonight, tbh, but he did. Watching the session, I realised Wizkid is doing what he knows how to do best – he’s not forcing things. IT’S HIS LIFESTYLE.

2) He never jokes with his Fans. The way he sounds in his music is the same way he sounds on live performance. That shows how real and pure his songs are.

3) And Lastly HE’S THE BEST AFRICAN ARTIST ALIVE!

@Leke_S: Wizkid is top 1 and he is number 1

He is sooo carefree and relaxed, which explains the centuries between albums. But also I was moved by just how super talented he is, I was so washed by how quickly he turned that freestyle in the first 30 minutes into a full-blown chorus. Also quite impressed by the testimonies on how personable he is. As fans, it’s hard to read his character because he doesn’t give us a lot to work with. We also got to see his dedication to his craft, evidenced in the absolutely perfect production of the whole thing. The guy is everything man, truly in competition with himself and himself only, and very deserving of his name STARBOYYYYY !!!

@ToniVerse: Music is bigger than sound

Music as art goes beyond the sound, it’s the people, the colours, the pictures. When done correctly, even people 10,000 miles away will feel like they are right there, looking up at the artist. ‘A Day in the Live‘ reminded me of the things that serve ingredients to greatness… and that was what we got. There are too many people involved, at different levels, that bring such performances to life, but when they are all aligned to one goal, it slaps. MIL slaps – and that performance slapped HARD!!!

@TobiWilliams: Wizkid is himself on ‘Made In Lagos’

‘Made in Lagos‘ seems like the album he puts all his influences together and you can tell how at home he is. He can tell he has nothing else to prove and now we are getting the Wizkid he himself always wanted and it’s inspiring to see.

@ColdAsMax_: Live bands are hard work, but the pay off

‘A Day In the Live of Wizkid’ was such a wholesome experience, and it really did let us see Wizkid in a new light. One thing I took away from it was the amount of work that goes into a show with a live band. Performing with live bands isn’t too welcome in these parts so getting to see Wiz’s band plan and perfectly execute a seamless show was really great. Also, it was nice to see Wiz verbally interact with other people because he’s always seemed like he was a lone wolf.

Watch ‘A Day In The Live Of Wizkid‘ below:

Featured Image Credits: YouTube

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

Omah Lay continues his impressive breakout run with new EP, ‘What Have We Done’

Posted on by The Native

No debut project in 2020 has moved the way Omah Lay’s ‘Get Layd’ did. The Port Harcourt native’s sensual voice and delightful melodies on the tape served as comfort music during quarantine. He also showcased the allure of introspective songwriting in Afropop with the impressive following he amassed while clubs and music stages were not an option. Earlier this month, he flaunted his international range by sharing the 6lack-assisted remix for “Damn”, which he has now revealed was giving us a taste of another EP, titled ‘What Have We Done’.

 

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The tape offers four new tracks, “My Babe”, “Can’t Relate”, “Godly” and “Confession”, produced by Echotheguru, Tuzi, Tempoe, and Omah Lay respectively, while “Damn Remix”, produced by Bizzouch serves as the bonus 5th track. ‘What Have We Done’ is the product of an artist who became an overnight sensation and is dealing with the uncertainty and anxiety that comes with it.

Omah Lay is doubling down on his introspective songwriting as he ponders on his new-found fame and seems to conclude that feelings, faith, partying and romance are the remedy for anxiety in the face of isolation and new beginnings.

Stream Omah Lay’s ‘What Have We Done’ below.

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

ICYMI: Check out Omah Lay and 6lack’s “Damn Remix”

Listen to Basketmouth’s star-studded compilation project, ‘Yabasi’

Posted on by The Native

In 2012, Empire Mates Entertainment released the compilation project, ‘Empire Mates State of Mind’. While it predominantly featured artists on the label, including Wizkid, Skales and label boss Banky W, it also made room for outside contributions, such as Basketmouth’s hilarious 3-part skit, “Hate”. Due to the interactive nature of Nigeria’s creative industry, the highly revered comic has hovered around the music scene, with occasional guest appearances and other roles, such as hosting live events.

After debuting his alter ego Badman Bob with last year’s “Dia Fada”, Basketmouth has now fully dipped his toes into curatorial powers, releasing his debut single, “Myself”, in early October. While it features stellar vocal contributions from Oxlade and Show Dem Camp, the single exudes the humorous truth-telling that Basketmouth has largely based his comic act on. “Myself” was released as the first single off ‘Yabasi’, an upcoming soundtrack album, which was initially set for an October date, but was indefinitely pushed back in solidarity with the nationwide #EndSARS protests.

 

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Accompanying the upcoming premiere of his latest feature film, “Papa Benji”, on December 4th, ‘Yabasi’ has now dropped and is available to stream and download across all streaming platforms. Curated by Basketmouth, entirely produced by Duktor Sett, and engineered by Tee-Y mix, the 10-song set is a star-studded affair with a stylistically diverse array of artists. Featured artists include Ladipoe, BOJ, The Cavemen, Bez, Waje, Duncan Mighty, Flavour, Phyno and much more.

According to Basketmouth, the soundtrack project took all of two weeks to complete, despite its sprawling cast. Impressively, given the short span, it doesn’t sound rushed or haphazardly made, with the project relying on highlife as the sonic anchor, while branching out into an eclectic palette that fits the diversity of its guests.

You can listen to ‘Yabasi’ here.

Featured Image Credits: Instagram/basketmouth

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

ICYMI: THE SIGNIFICANCE OF DRAKE LISTENING TO OXLADE

Yemi Alade releases fifth studio album, ‘Empress’

Posted on by The Native

In 2013, Yemi Alade scored her breakout, smash single, “Johnny”. Since that explosive entrance into mainstream consciousness, the singer has evolved into one of the more prolific, pan-African superstars around. With her album titles like her debut ‘King of Queens’ and sophomore ‘Mama Africa’, she’s made sure to remind us of her constant commercial acclaim and overall impact as one of the foremost women on the scene.

 

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Following her stellar run from last year, which saw the release of her fourth LP, ‘Woman of Steel’, and multiple features on the Beyoncé-led compilation project, ‘The Gift’, Yemi Alade has returned with her fifth studio album, ‘Empress’. She announced the project earlier this month, sharing its artwork and tracklist a few days back. The album is preceded by two previously released singles, the thumping, South African house-influenced “True Love”, which also serves as the opening track, and “I Choose You”, which features French pop superstar, Dadju.

‘Empress’ comprises fifteen tracks in its entirety, and according to the liner note on Apple Music, it “represents Yemi Alade stamping her mark on the genre while growing her sound”. The album also continues her pan-African outlook, with features from Patoranking, Mzansi Youth Choir, French singer of Ivorian descent, Vegedream, and she shares the smooth r&b cut, “Weekend”, with British singer Estelle.

You can listen to ‘Empress’ below.

Featured Image Credits: Instagram/yemialade

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

ICYMI: TEMS’ “DAMAGES” IS TOPPING THE CHARTS

NATIVE Exclusive: WurlD knows that he’s here to stay

Posted on by The Native

In May, WurlD dropped ‘AFROSOUL’, his third EP within the span of thirteen months. Consolidating his prowess for sublime vocal delivery, emotive writing, and expanding on his colourful sonic palette, the 7-song set was WurlD’s latest statement, and a resounding on. “You know, ‘AFROSOUL’ just confirmed that I am here to stay”, the singer recently told me, with an exclamatory tone in his voice.

‘AFROSOUL’ was as much of a celebration of the fans WurlD had accrued with preceding EPs, as it was a final notice to any remaining unbelievers who held doubts about his abilities. Where ‘Love Is Contagious’ ambitiously melded his western pop sensibilities with African grooves, and ‘I Love Girls With Trobul’ paired him with exquisitely layered afro-house meets electro-pop production by prolific afropop savant, Sarz, ‘AFROSOUL’ found WurlD embracing and exhibiting the African facets of his artistry even more. “The project was more afro, more pidgin; the project was me showing more of my African-ness,” he explains.

Although the project is six months old — which seems like a lifetime ago consider the pandemic and civil unrest that has dominated this year — WurlD isn’t moving on from ‘AFROSOUL’ just yet. Today, the singer has released a deluxe edition of the project, which includes two new tracks: “Bossy”, which features a stellar 16 from UK-based rapper Kida Kudz and an unorthodox but memorable appearance from Cuppy, and the Tempoe-produced “Chop & Pray”.

“I released ‘AFROSOUL’ during lockdown, we didn’t really get a chance to celebrate the songs,” WurlD says of the decision to reissue the EP with new songs. “Also, I felt like I wasn’t really ready to release the album and my fans should definitely get new music.” Both new songs reinforce WurlD’s mastery of spinning romantic narratives into catchy bops, with the singer’s velvety voice earnestly gliding over bewitching grooves.

In the lead up to ‘AFROSOUL (Deluxe Edition)’, we caught up with the singer to talk about the new release, immediate future plans and the situation of his debut album. Our Conversation, which follows below, has been lightly condensed and edited for clarity.

NATIVE: The world has been quite turbulent since you dropped ‘AFROSOUL’. How have you been coping and what things did you learn about yourself?

WurlD: I realised that I’m actually an inside person, I spent most of my time inside. During lockdown, it felt normal for the most part, I was always in the studio recording; I’m a studio rat. I realised I spent like 90% of my time inside, because there’s a studio in my house, and most times I travel with my home set-up. Also, the importance of being close to family, spending some of that time with them has been a blessing. It’s kinda helped in preserve who I am as a person and with my career. Before Covid, I had some balance in my life, but during Covid, I realised it wasn’t there and I was just trying to figure things out within myself. Then I was just like, “do what feels right”.

What did you think ‘AFROSOUL’ did for you within the context of your career?

You know, ‘AFROSOUL’ just confirmed that I am here to stay. With the previous projects, some people might have felt I got lucky or whatever, but the thing is, I was actually working on these projects at the same time. Everything is intentional, and ‘AFROSOUL’ for me was a celebration, a celebration of my fans, and musically, I just wanted to celebrate Nigeria and Africa. The project was more afro, more pidgin; the project was me showing more of my African-ness. These songs, from “National Anthem” to “Story” to “Wayo”, have my African side on them. I wanted my fans to see another dimension of myself and appreciate it, and I think I did that. I’m very grateful for all the support, I cherish that. Like now, I consider my fans in whatever I’m creating.

Why are you choosing to drop a deluxe edition of the project six months later?

You know, this isn’t something that’s really popular in Nigeria, but I’m a very detailed artist with a wider perspective. Living in America, seeing how things are done, everything is very intentional and stuff like this is celebrated like a new release. I released ‘AFROSOUL’ during lockdown, we didn’t really get a chance to celebrate the songs. Also, I felt like I wasn’t really ready to release the album and my fans should definitely get new music. With the pandemic and all the other stuff happening, this year feels like a double-year, and the fact that the project came out in May feels like I released it a year ago. Since it’s not time for the album, I felt like the best way to drop new music was to repackage ‘AFROSOUL’, to add two more songs that I’m very passionate about, just to get people to have a good time.

What do you think these two songs add to the arch of the EP?

Here’s the thing, I know what my fans like. I have different types of fans, I have the “Show You Off” fans, and I have the “Ghost Town” fans too, and this EP kind of catered to those guys. I know there are “Trobul” fans as well, and I think they felt left out of the project. So, this is me acknowledging that – being an artist by showing range to my music, and it was like, “this is the middle”. These were the two songs I would have added, because I had them in the can all along as well. It was just about combining these different facets of fans and catering to them all at once.

Do you enjoy actively thinking of satisfying a fan base that understands that diversity?

Yeah, I enjoy it and I think it’s a blessing. It’s important to have range and fans that appreciate it, I come from a background where I learnt to make different types of music. But one thing that fans will understand more is that these are my ideas, and I’ve even recorded most of the songs for the next year. I’m getting close to a full album, and I’m putting my best forward while learning as I go. The album is not going to be one-sided, at most two-sides, but I don’t think it will show all three sides. Some fans may not get what they like the most, but they will come to realise that WurlD is always going to be WurlD, from the concept, the lyrics, the delivery; my execution is always going to be of the highest quality.

How did you come to work with Kida Kudz and Cuppy on “Bossy”?

I actually got in Kida’s DMs. I’ve been a fan of Kida Kudz from the “Jiggy Bop” record, for me I love his tone, I love his voice, it’s unique. When I messaged him, he literally replied in like five minutes, like, “yo, WurlD, I’m a fan, I’ve been listening to your tunes”. I was a bit surprised, and at the time I had “Bossy”, so I just asked him to get on it. I sent him the record, he pushed it back almost immediately and it was great.

If you listen to “Bossy”, it’s a visual song, I wanted to paint a scenario, and Cuppy was the person to bring that out, since she seems like the kind of person that lives what the song is about. I didn’t just want it to be anyone, the feature is very unorthodox. I and Cuppy on a song might not be ideal on paper to many Nigerians, but what they’re missing is that there’s so many ways to collaborate with people without diminishing each artist’s value. There’s so many ways to do it, and this is just one way.

Yeah, and it reminds of the skit (“Nobody Wins (Interlude)”) from ‘ILGWT’.

The skit gets wilder and the conversation gets wilder, right? It’s all part of it. We don’t do enough skits in this region. Like, this is entertainment and this is part of it, keeping people entertained with not just good music. I wanted it to be like this is some real life shit, like this depicts how women can love you and want you to be there, but they have options if you’re not forthcoming. Nowadays, women flex their autonomy and they do have more options. There’s even one line on “Bossy” where I sang, “I’m one of your many types, but tonight I’m the only one on your mind”. The skit just makes the theme and experience of the song much better.

Interesting. It makes me want to ask how you write, like do you go with the flow or are you always intentional about your themes?

Yeah, I like to go with the flow, the beats, the vibes, the energy. Conversations are also really important to me, a song can have a theme but conversations help in making sure they’re detailed, even if it’s a fun record. For example, “Mad” is such a catchy, fun record, but if you listen very well to it, it’s highly conversational. For me, I go with how I feel, I take in my surroundings, I observe people around me, I listen to friends because I want to make sure my music communicates with people.

Has being focused on being an artist affected you writing songs for other artists?

No, I’m always open to collaborating with artists in that capacity. I actually have a song coming with BOJ, we worked on a couple records, one on his EP and he did one for me on a future project. I’ve been working with different artists in Nigeria whose work I love, just doing writing sessions with both established artists and those on the come-up. For me, I’m just very focused on my narrative and goals, I don’t just look for artists to write songs for, but I do reach out to artists that I’m a fan of, like, “I’m working on something, what do you think about it? Maybe we should do this together?” If they sound good, then I’m all for it.

You’ve worked with Sarz and Shizzi, it really doesn’t get bigger than those two in Nigeria, but which other producers would you like to work with, that you haven’t already?

I’m working with a lot of them now. You know what, I like Rexxie. I love what he does, and it will be unorthodox. Rexxie does a lot of the street anthems, but I know that if I work with someone like that, I’m going to bring out a new side to him. He probably already has it, but I could be the artist that helps unlock it on a bigger level, because he clearly has amazing vibrations already. Off the top of my head, he’s the only one right now, and we probably will be working very soon.

You’ve been talking about setting up the album, how far away are you from putting it out?

I think the album is close, but the timing of the release is one thing I’m not sure of yet. The release is part of the process, and we’re still adding and editing stuff every day. But the bulk of the album is ready, I’d say probably 80% of the album. Before then, I have a lot of collaborations coming, like the stuff I’ve done with Asa. We haven’t decided how much of the stuff we recorded is coming out, but I’m excited for people to hear what we did. Basically, it’s a lot of collaborations, from Diamond Platinumz to a lot of people I worked with when I lived in Atlanta, who’ve gone on to become some of the biggest names in that scene. You guys are going to be hearing a lot of WurlD, from Afrobeat to Trap, just fusing the vibes and I’m always going to be experimenting.

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

ICYMI: Read Our Best New Music Special On WurlD’s ‘AFROSOUL’

Djaji Prime’s shares new 6-track tape, ‘An Interim Uprising’

Posted on by The Native

2020 has been the most political-conscious year for most of us young adults, and it’s not just because of the recently concluded American election (I mean, who’s really that interested two white men going at each other for more power). Keeping up with the news and memorising some parts of the constitution has simply become a basic necessity for our survival as we navigate this crisis-of-a-year—with a pandemic-induced lockdown and protests against police brutality and complacent governments. Nigerian rappers such as Falz, M.I and others have always channelled the innate political consciousness of hip-hop to speak on the political issues concerning us in Nigeria. However, the trauma we collectively felt from the #EndSARS protests and the massacre at Lekki has made our political consciousness more vivid, forcing even more radio-friendly pop stars like Wizkid and Davido to speak up against the injustice.

 

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In this respect, Djaji Prime just shared a new EP, ‘An Interim Uprising’, offering 6 new tracks inspired by the present political climate. Although this is the rapper’s 3rd project, we’re are still anticipating his debut album to give us a fuller picture of his ability. ‘An Interim Uprising’ is a concept album about the chaotic climate here in Nigeria and somehow, he found fresh angles to explore the familiar concept. From the photo of a ski-mask on the cover art to the gangster ethos on tracks like “Save My People”, the tape finds Djaji Prime reasserting the message to pushback against the profiling carried out by law enforcement in Nigeria.

Though he tapped the angst of rock music on “Hysteria (Big Fish Theory” to describe how anarchic Nigeria was during the #EndSARS protests, the album appeals more to hip-hop sensibilities with classic 90s hip-hop style beat samples on “Cops & Mobbers” and “This is a Democracy”. For those who can look past his unique sound, they are rewarded with a concise 14-minute tape that delivers stunning, and defiant tracks that are both assertive and devastatingly cathartic as he narrates his personal experiences in our oppressive society.

Stream Djaji Prime’s ‘An Interim Uprising’ EP below.


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

ICYMI: Check out the essentials from Djaji Prime’s debut album, ‘ExPression’

CNN International extensively details the Lekki tollgate massacre

Posted on by Damilola Animashaun

On October 20, 2020, at point blank range, soldiers of the Nigerian Army fired live ammunition at #EndSARS peaceful protesters at the Lekki-Victoria Island tollgate, killing over a dozen and injuring hundreds more. That’s a fact. As evidence of the shooting made travelled through social media, following Nigerian DJ/artist, DJ Switch’s Instagram Live stream of a critical portion of the events that night, the Nigerian military responded quite insensitively, stating that no soldier was at the protest grounds and marking every single report of the tragic incident as fake news.

In collusion with the Lagos state government and the Federal government, this vehement denial from the military was the order, until the seams began to unravel days after. It took an entire week for Governor Sanwo-Olu to acknowledge that civilians were indeed killed Less than a month after this appearance on CNN, the international arm of the news-based broadcasting channel and publication has published its investigative report that sheds new light to the shootings. Examining hours of already seen and previously unseen footage, and also speaking to over a hundred of the people present at the tollgate on that Tuesday evening, as well as family members of deceased victims, the report, presented in written format and a mini-documentary, confirms what we all knew.

Dispelling every untruth the army has been spreading about its involvement in the massacre, the report uses metadata from received images and footages, along with eyewitness account to trace the army’s activities on that evening. They show footage of the soldiers arriving at the tollgate from the Victoria Island side and subsequently opening fire on peaceful, unarmed protesters, at shoulder level. The CNN International investigative team even goes as far as tracking down the manufacturers of the live bullets used by the soldiers, noting their Serbian origins and disclosing Nigeria’s arms deal with the Eastern European country from 2005 to 2016. They also interview families of those killed at the protest grounds, some of whose bodies have yet to be found or delivered to these grieving families.

It’s a bit insane that there has to be confirmation for a tragic event that so many of us witnessed virtually, simply because the army and the government are dedicated to muddling their involvement in one of the most gruesome, and the most publicised, acts of violence on Nigerian soil. This CNN International report dispels the Nigerian army’s attempts at bending the truth, especially as army spokesperson, Brigadier Ahmed Taiwo, has been testifying intermittently in front of the Lagos state Judicial Panel. Last week, Brig. Taiwo stated that the soldiers only fired blank rounds into the air, denying that anyone died or was injured from gunshots. By virtue of its extensiveness, thoroughness, and CNN’s reputation as a credible source for global news, this report tells the unequivocal truth, potentially quelling the doubts of any remaining sceptic about the realness of the Lekki massacre.

You can (and should) read the written report and watch the mini-documentary here.

ICYMI: AN UPDATE ON THE NIGERIAN GOVERNMENT’S RESPONSE TO #ENDSARS PROTESTS

Tems’ “Damages” is topping the charts

Posted on by The Native

Tems’ stellar rise over the last couple of years has been expeditious. In just about two years since breaking out with “Mr Rebel”, the singer/songwriter and producer has garnered considerable fanfare that constantly ranks her on a level comparable to longer-established acts in the scene. This year already, she’s teamed up with Khalid and Davido on “Know Your Worth”, released her highly-anticipated debut EP ‘For Broken Ears’, featured on Wizkid’s ‘Made in Lagos’ and been named Apple Music’s Africa Rising artist of the month.

Tems is far from taking her foot off the pedal. Just two months since the release of ‘For Broken Ears’, it’s almost impossible to not have heard the project’s afro-dancehall promotional single “Damages” around these parts. The earworm track has featured on Instagram stories and captions around the world and has enjoyed near-constant play, having already garnered over 1.3 million views on Youtube in the last month. The single’s unavoidable ubiquity was the first indication that the girl on fire was soaring to newer heights, but now it seems that the singer is making more than just ice tea these days, she’s also topping charts – locally and internationally.

Currently, “Damages” is making the rounds both at home and in the diaspora. This week, we learned that “Damages” sits respectively at the #8 spot on the Nigerian Turntable charts and #12 on the official UK afrobeats charts. Released over two months ago, it’s noteworthy that Tems is still topping charts with this single, as it has now enjoyed a kind of longevity that most songs do not in today’s fast-paced music scene. Tems emerges triumphant confirming that the magic we saw in her over years, with “Mr Rebel” and then “Try Me”, did not just happen by chance, but because of her incomparable talent and superstar status which is continually growing.

The uptempo number, “Damages” is also charting on Apple Music, currently sitting at #2 in the Apple Music R&B songs chart, with ‘For Broken Ears’ also peaking at the #2 spot on the R&B charts for projects. Across all the charts mentioned, Tems is also the only woman in the top 10 spot, securing a space amongst top-charting singles like Wizkid’s “Ginger”, Davido’s “FEM” and Olakira’s “In My Maserati”. At this point in her career, this is a notable feat to attain, especially when existing and manoeuvring an industry that’s bent on pigeonholing women or shifting them to the background or worse, pitting them against one another.

This is not the first time that Tems will rise up and dictate her own rules, however. In fact, she’s been doing it for quite some time: her 2019 ubiquitous single “Try Me” enjoyed similar chart-topping success. At the time of its release, the fiery anthem of triumph garnered sizeable fanfare, peaking at #1 on the Apple Music charts in Nigeria and even charting in Sweden.

Tems’ confidence is perhaps her most magnetic trait and she constantly exudes an undeniable self-assuredness in her releases, leaning into everything that quickly endeared initial listeners to her music. With “Damages” still topping the charts, it is clear that Tems’ position in the industry is cemented more than ever and she’s truly the leading vibe. ‘For Broken Ears’ is a stunning debut from an artist who has honed the craft of making music designed to slice through complicated emotions with the precision of a scorching blade. Of course, we are ever thankful for the aural therapy.

You can listen to “Damages” below.

Featured image credits/Tems

.@tamimak_ Is a Staff Writer at The NATIVE

ICYMI: Review of Tems’ ‘For Broken Ears’

Songs of the day: New music from Runtown, Timaya, Cheque and more

Posted on by The Native

It’s been a while, but we’re back at it with the new music updates. In a month full of loss, from COVID casualties to peaceful protesters being shot, at it didn’t feel right to carry on like normal, so we stopped everything to give all our time to the pressing issues at hand. These day, it’s still #EndSARS until they #EndSARS, but there have been welcome breaks from the bleak reality of the world.  Even though 2020 has been quite an overwhelming to take in, music has provided a necessary escape, and throughout the year; musicians have continued to release music that motivates us as a return to normalcy no longer seems certain.

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

Cheque – “Loco”

Cheque’s debut project, ‘Razor’ has continued to enjoy massive rotation on the radio since he dropped it back in July. With the tracks written to highlight and celebrate his newfound celebrity and confidence, backing up the songs with glossy videos have effectively pushed him to further acclaim. His last video, “Zoom” saw him soaring as high as anyone can dream to fly in a convertible Benz; now we see him playing the sweet lover boy role in his new video for “Loco”, the romantic cut off the EP.

TG Omori directed the video for “Loco” and sets up Cheque with a muse who he serenades as they’re washed by neon lights. There are also cuts of the couple at an outdoor lounge at night where dancers flaunt their different choreographed dance routines to the melodies the lightweight Afropop beat produced by Tempoe.

Gafacci – “Like Chili” Feat. Odartei

Ghanaian producer and DJ, Gafacci is gearing to release his new project where he features artists from all around Africa. He has shared the tape’s lead single, “Like Chili”, hinting at what’s to come as he combines the lightweight groove of Ghanaian highlife with the soft guitar riffs of Latin pop. The song continues to build Gafacci’s reputation for channeling ingenious Ghanaian music styles to make electronic world music that bridges the gap between different regional sounds. On “Like Chilli”, he teams up with a young Ghanaian singer, Odartei who contributes his sweetly romantic lyrics that make the airy instrumentals fit for dance floors.

Gafacci has collaborated with local and international artists such as Sarkodie, Branko, Fever Ray and Ice Prince and owns his own label Clam Clam. With Odartei’s catchy melodies and the pleasantly euphoric ambiance of the beat, “Like Chili” builds our anticipation for the forthcoming tape from one of the ambassadors for Ghanaian electronic music .

https://soundcloud.com/gafacci/like-chili-feat-odarteiwwww

Runtown – “Kini Isu”

Since scoring his megahit record, “Mad Over You”, Runtown has retained his position as one of the poignant voices of the music scene in Africa. As EndSARS protests held across the country, Runtown showed that his voice also serves to inspire progressive change, as he actively involved in motivating young people to speak up against oppression during the EndSARS movement. Now that the protests have been put on hold, he is sharing the new video for his previously released single, “Kini Issue”.

Meji Alabi directed the video for Runtown’s “Kini Issue” and it shows his celebrity partner, Adut Akech joining him to share intimate scenes as they stretch out on a sofa. While his previous single, “Body Riddim” featuring Darkovibes and Bella Shmurda described the physical attraction Runtown feels for his love interest, “Kini Issue” focuses on their emotional bond; “She be messing with my head/ Got me singing love songs on the radio”.  The video also features dancers wearing masks made out of local fabric, aso ofi, and it continues Runtown’s tradition of tributing indigenous fashion styles in his music video.

Timaya – “Gra Gra”

Timaya has come a long way from his humble beginnings to become one of the defining voices of Nigerian pop music. Since his 2005 solo debut, “Dem Mama”, the Papichulo has consistently delivered hits, either through soundscape-defining hits like “Ukwu” or evolving his Raggae-tinged sound to match the contemporary afropop bounce. His new album, ‘Gratitude’, where he sings about his journey through his many years as a celebrated afropop star, offers 13-track, including lead singles, “Born To Win” and “Gra Gra”.

He recently shared the music video for the album’s standout track, “Gra Gra”, where he sings about staying humble despite his many achievements. The video for “Gra Gra” was directed by Unlimited L.A who shoots Timaya at an art shop with different paintings and sculptures surrounding the singer while he performs his lyrics for the camera. We also see Timaya at a backyard cookout where he’s seen carrying a chicken lap as sings, “Me I no dey do gra gra/ I no dey gberaga”. Given the simplistic sets and his singlet outfit, his lyrics are even more convincing.

Classykinging – “Solo Makinde”

Classykinging has built his discography with songs like the DJ Kaywise-assisted “Red Cup”, that show how he excels at locking into a party-starting groove. Though he has made a career from channeling the irresistible charm of dance floors, on his latest single, “Solo Makinde”, Classykinging is more focused on his own acclaim and it makes for his most fun song yet. Singing “Solo Makinde o/ So wipe o/ Mi olese o/Who dey bang for the radio?” over the catchy beat produced by Whalez, the song has the sort of catchy melodies that stick in your brain long after you’ve stopped playing.

While Classykinging confidently brags about his career growth, he infuses some drama by speaking about those who doubted him. The catchy beat and melodies were designed to get feet moving at the club and with the hater-referencing lyrics, you can be sure that dance floors will get aggressively hyped for this one.

DJ Neptune x Joeboy x Laycon – “Nobody”

Laycon’s rap career was already on the upwards trajectory when shared the Chinko Ekun and Reminisce-assisted single, “Fierce” in 2019. However, since he won the N85 million prize for BBNaija 2020, he has become a certified pop star with enough clout and wealth to be unfazed by other mainstream acts. The rapper just got enlisted for the remix of DJ Neptune, Joeboy and Mr Eazi’s “Nobody”, and it’s no surprise that he makes the song his own show. Newly titled “Nobody (Icon Remix)”, the tracks sees Laycon showing off his celebrity status while delivering lyrics to win the affection of a love interest; “You know the boy keeps the lights on/ What an icon”.

With Mr Eazi’s absence from the remix, Laycon gets two verse in while Joeboy performs the chorus and his verse from the original song. The song is accompanied by a Dindu-directed video that shows DJ Neptune, Joeboy and Laycon in different colourful sets as they perform their romantic lyrics and dance to the groovy instrumentals along with the  featured video vixens.

Richaardbrown – “Jazz Up”

Richaardbrown has released a new single, “Jazz Up”, the follow up to his debut single, released earlier this year, “No Lie”. As one of the new voices emerging from Nigeria, Richaardbrown has shown he can consistently deliver music to fill dance floors without sacrificing personality. For “Jazz UP”, he lays a catchy afropop flow over a smooth, melodic Amapiano beat produced by Magic Sticks. Richaardbrown’s lyrics unpacks his determination to acquire wealth and success – as a loner trying to survive in the city of Lagos, making it is a necessity. His lyrics reference the Ikeja neighbourhood and the jazz-up meme as he explains that “I ain’t got no one I gotta make it on my own/ I be in my feelings but I keep it on the low/ Omo make we jazz up!”. Richaardbrown might be a newcomer but he has no doubt about his purpose and his legacy in Nigeria’s booming music scene.

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

ICYMI: Catch up on all the best songs released earlier in the week

 

Amaarae, Kojey Radical and Cruel Santino link up in the video for “Jumping Ship”

Posted on by The Native

Since the first time we heard Amaarae’s velvety voice on the song that became her breakout, “Whoa!”, the Ghanaian singer has remained consistently flirtatious. Though sex being the subject matter of songs commonplace in Africa’s dancefloor-driven music scene, very few artists manage to pull it off quite as convincingly Amaarae does. Her debut album, ‘The Angel You Know‘, which arrived last Thursday, is packed with lyrics that can make listeners blush as she narrates her sexcapedes with freewheeling confidence.

 

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A post shared by at0mic angel (@amaarae)

Now out with the music video for “Jumping Ship”, featuring Kojey Radical and Cruel Santino, Amaarae’s latest 3-minute-long clip offers another opportunity for her to flaunt her more sensual side, as she and her guest artists sing about the pleasures of new romance.

The blurb shared under the YouTube link for the video explains that “Jumping Ship” “is about leaving a current lover in pursuit of a new love interest.” The Rami Laudat-directed music video offers the perfect landscape for this with a dimly lit nightclub, where the three artists enjoy drinks, dancers, and other entertainment. While the blurry frames help capture the drowsy feeling of being drunk, Amaarae’s lustful voice paying explicit homage to female pleasure is what makes the exciting collaboration a sweaty toast to pop mastery.

Watch the music video for “Jumping Ship” below:

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

ICYMI: Amaarae’s “trust Fund baby”, “Hellz Angel” and “Celine” are this week’s Best New Music

TurnTable Top 50: The usual suspects top the chart’s second week

Posted on by The Native

Launching on November 9 Turntable, yesterday, recorded their second Top 50 chart which saw Davido’s “FEM” seize the number one spot from Wizkid and Burna Boy’s “Ginger”, which has now moved down to number four. Releasing his latest album, ‘A Better Time‘ on Friday (a day after this week’s counting closed, so ‘ABT‘ numbers will appear on chart), the lead single from the album, “FEM” rose from position number 17 to number 6 on Turntable’s Top Streaming Chart, and has remained at number one on the Top Airplay Chart for a record-extending nine weeks, also holding onto its top five position on Turntable’s Top TV Songs chart.

Whilst streams for both “FEM” and “Ginger” have decreased since last week, where “FEM”‘s streaming number have seen a decline of 10.48%, “Ginger” is down a whopping 50% on streaming platforms, though is up nearly 25% in number of airplays, boosting the record from 11 to 4 in the Top Airplay Charts. Wizkid’s second single in the top 10, “No Stress”, rests at position 9, down five places since last weak’s peak at 4.

Arriving the same Friday as End SARS protests grew in traction over the country, Olamide’s ‘Carpe Diem‘ received relatively little attention in its first weeks, but since Buhari’s sinister threat to Nigerians not to protest, the rapper’s eleventh studio album is deservedly picking up. Debuting at position 7 and 17 respectively, this week, Olamide’s “Infinity” featuring Omah Lay, and the Bella Shmurda-assisted “Triumphant” clench the two spots between “FEM” and “Ginger”.

Patoranking joins the usual suspects in the top five with his ‘Three‘ single, “Abule”. An ode to the streets, it is no surprise that “Abule” has reigned in the Top Airplay Charts, spending 12 weeks in the top ten, the second longest tenure behind Rema’s 14 weeks with “Woman”.

Debuting at position five last week, Cheque’s “Zoom”, drops only one place to six, whilst Tems’ “Damages” (previously at seven) drops two places to number eight. Bella Shmurda, Zlatan and Lincon’s “Cash App” take the number seven spot for this week. With DJ Neptune’s “Nobody” featuring Joeboy and Laycon rounding off the top ten, unfortunately, for a second week in a row, Tems remains the only woman in the top ten.

Beside that blatant androcentrism however, there is a rather diverse mix of Nigerian musicians in the top ten, and in the top 50 overall. High ranking appearances from Omah Lay, Olakira, Tems, speak to Nigerians’ increased variance in taste, as we enjoy the diverging sounds of our mainstay musicians in the top five alongside rising stars who are equally doing their own thing. With only five Western songs making it to the top 50, the highest ranking being Drake and Lil Durk’s “Laugh Now, Cry Later”, we are also seeing clear evidence of Nigeria’s preference for home-grown talent when it comes to musicians. Ours is one of the few music markets in which our local content is consumed at rates far exceeding the consumption of globally dominant American music. In a time our faith in Nigeria is tested time and time again, it is warming to see that we never fail to support our own.

Check out the full list of Turntable Top 50 here.

Featured Image Credits: BBC

ICYMI: A 1-LISTEN REVIEW OF DAVIDO’S ‘A BETTER TIME’

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

Posted on by The Native

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

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

The Central Bank of Nigeria freezes accounts of End SARS protesters

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

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

End SARS protesters continue to be detained

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

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

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

Panic at the Afrikan Shrine

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

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

 

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A post shared by Seun Kuti (@bigbirdkuti)

Strange new laws and regulations

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

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

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

SWAT has begun training

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

DJ Switch has been granted asylum in Canada

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

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

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

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

Featured image credits

Tami is available here @tamimak_

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

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

Posted on by The Native

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

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

 

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A post shared by Captain Wahala 🌹 (@gigiatlantis)

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

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

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

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

Featured Image: Abiola Renee/NATIVE

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

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

Posted on by The Native

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

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

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

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

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

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

 

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

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

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

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

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

Where’d you grow up?

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

What inspires your music?

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

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

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

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

What have you performances been like so far?

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

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

How did your management situation come about, then?

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

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

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

What’s a day in Olakira’s life like?

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

Besides your name, how much has changed?

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

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

Why should people listen to ‘Wakanda Jollof’?

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

What inspires your songwriting?

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

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

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

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

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

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

Posted on by The Native

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

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

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

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

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

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

Featured Image Credits: NATIVE

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

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

Posted on by The Native

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

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

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

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

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

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

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

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

Listen to ‘TAYDK’ here.

Featured Image Credits: Instagram/Amaarae

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

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

Posted on by The Native

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

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

Yemi Alade – “I Choose You” featuring Dadju

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

Pa Salieu – “Energy” featuring Mahalia

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

April Maey – “Starry Nights”

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

Alpha P – “Vibe with Me” featuring Psycho YP

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

Chimzy – “Tornado”

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

Ictooicy – “Feel Da Same”

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

Davolee – “Happiness”

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

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

Featured image credits/Instagram

.@tamimak_ Is a Staff Writer at The NATIVE

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