Watch DRB and Tems in the Matrix-inspired video for “Trouble”

Posted on by The Native

In a year as tumultuous as the one we’ve collectively survived, turning to music and entertainment as a source of relief from the harrowing events that have taken place is a mainstay. In fact, a few months ago, many members of our community revealed that they had found solace and peace in returning to nostalgic shows and movies to ground them in the familiar and ease their minds about the seemingly dystopian year we’re all coursing through.

Well, it seems our favourite alté group, DRB are also finding peace in the familiar, as they reimagine what the Matrix could look like within a Nolly-esque context in the new video for their Piooners standout, “Trouble” featuring Tems

 

View this post on Instagram

 

A post shared by PIONEERS 🇳🇬 (@drblasgidi)

In the Ademola Falomo-directed video for “Trouble”, sponsored by Jameson Nigeria’s exciting initiative, Seen and Heard, we see snapshots of The Matrix-inspired scenes, where the famous green computer codes and wired head jacks make an appearance as the group along with Tems escape their present reality for one that’s entirely out of their control. DRB depict a dystopian version of Nigeria–although we’re arguably already in one–as they venture into a virtual universe complete with a series of disconcerting landscapes, which transports them from a hallway full of mirrors to rooms of fire and death.

Tems is undeniably steals the show with her voice and her wardrobe, she transforms into a darker alter-ego of herself as she tries to make sense of her new reality. Given that the song’s lyrics soundtrack a tryst with danger and adventure, the video seems very fitting.

Speaking about the new video, the group shared:

“To us, it depicts a dystopian universal version of Nigeria. We wanted to cross-reference stuff from classic Nollywood, movies like The Billionaire’s Club, and mix that up with stuff like The Matrix. We loved the juxtaposition of how those two worlds collide, and that’s what DRB is all about -mixing up all the stuff we know culturally and putting it together.”

Watch the video for “Trouble” below.

Featured image credits/Youtube

.@tamimak_ is just trying to make it to the end of the year

ICYMI: Wurld shines on ‘Afrosoul’ bonus track “Bossy”

Best New Music: WurlD shines on ‘AFROSOUL’ bonus track, “Bossy”

Posted on by The Native

WurlD is one of the busiest artist in the Nigerian music space. In the twenty months since he released his first project in the limelight, ‘Love Is Contagious‘, WurlD has delivered a joint project with producer extraordinaire, Sarz, a 9-track appreciation of his ever-growing African fanbase, ‘AFROSOUL‘ and over the weekend, he upgraded the later project to Deluxe status, adding two more records to the early summer release.

Most Deluxe editions you’re familiar with will likely have thrown in their bonus tracks at the end of the familiar show, but WurlD is giving his added tracks priority position, adding “BOSSY” and “CHOP ‘N’ PRAY” to the top of the project, ahead of the previous opening song, “NATIONAL ANTHEM (GROWING WINGS)”. Given the strength and poignance of the original project opener, leading ‘AFROSOUL‘ with an alternative record is a risk – but a risk that works well for WurlD, as “BOSSY”, with is Cuppy cameo and Kida Kudz feature, packs a heavy punch.

After a breezy, strummed introductory bar, “BOSSY” opens with a voice message left on WurlD’s line, from none-other than Cuppy. Demanding – not requesting – his presence at her residence for her one night in town, Cuppy emerges as WurlD’s muse for the record, upon which he poses the typically insulting adjective as an alluring trait.

Most women with authority have experienced the double standard that describes the same assertiveness and confidence, defined as such in men, as bossiness or bitchiness in women. Throughout our lives, women have been made acutely aware of the social repercussions of self-assured decisiveness; we know all too well of the bad branding that comes with knowing what we want and going after it with candid conviction; being termed “bossy” isn’t unfamiliar to women who assert their authority accordingly. So – though subtle (and, in this context, inching on superficial) – the reframing of this typically negative adjective as a favourable characteristic is a welcome change from the misogynistic connotations commonly attached to the word. After his first verse, which detailed how time and money are essential assets to his muse, whilst men are not, WurlD concludes singing, “but I gotta learn to treat you right” before he goes into his chorus that gushes about her bossiness and admits that she only wants him for the sex.

Kida Kudz takes over seamlessly from WurlD, instantly admitting that he is crazy for his bossy lady, reiterating WurlD’s desire to impress her with the line, “make she no go think I be silly person.” When we first heard ‘AFROSOUL‘ back in May, we noted it’s diverse topics, from perseverance and survival to romance, heartbreak and self-awareness. “BOSSY” is a romantic track that explores yet another area of the self – confidence, through WurlD’s framing of his self-assured muse. When it comes to the sound, like the other songs on the album, “BOSSY” shows WurlD’s versatility, especially when paired with its second bonus track, “CHOP ‘N’ PRAY”, which has a vastly different vibe to it. Titled, ‘AFROSOUL‘, West-African sounds are, naturally, favoured on this project, more so than any other of WurlD’s work, and those tastes aren’t omitted from the newly emerging opening track, adorned with dance-inducing shakers that keep the rhythm of this colourful afro-fusion track.

As the song comes to a close, after an unexpected by triumphant third verse, which flaunts WurlD’s well-known vocal dexterity, DJ Cuppy resumes her role as the boss of their fling. Although certainly not as compelling an actor as her sister, Cuppy’s casting here couldn’t be more inspired. Her opulent social media presence, and the fact that she is rarely ever associated with any guy, remaining very private about her romantic life these days, means that she plays so well into the stereotype WurlD is trying to convey. Even the script has Cuppy written all over it; “let me know if I need my driver to pick me up,” she says, nodding at her affluent lifestyle that affords not only a driver, but one who is on call even for late-night booty calls. This witty ending might be silly and superficial, but Cuppy’s continued voice note adds that extra charm to the song, which leaves listeners with a grin on their faces and a feeling of all-round enjoyment.

Listen to “BOSSY” below:

Featured Image Credits: WurlD/Instagram

ICYMI: WURLD TALKS US THROUGH ‘AFROSOUL (DELUXE)’, TRACK-BY-TRACK

Black Excellence, through history, has been achieved through revolution

Posted on by The Native

Peering into the role of music during, or in the aftermath, of civil uprisings worldwide, through the lens of the recent #EndSARS protests, Emmanuel Esomnofu argues that beyond serving the important function of documentation, such art portends a phenomenal, career-defining influence on any artist and often, a genre of music. 

On October 3rd, a young man was shot dead, and his car was driven away, in Ughelli, Delta state by members of the Special Anti-Robbery Squad, SARS. Two days after the Delta incident, reports surfaced of a musician, Daniel Chibuike aka Sleek shot in Rivers State after being chased by rogue police agents. The #EndSARS movement, as we know it today, was revived in the wake of these two events, which led thousands of Nigerians to protest nationwide. On one of the protest days, Fikky, a young rapper, found himself staged on top of a vehicle, spitting a rousing verse in Yoruba that fired up the crowd, returning home an internet sensation. After seeing Fikky’s performance on Twitter – where the video spread like wildfire – ace producer Adey communicated his intent to help and within days Fikky’s freestyle was made into a song.

Customary to most Nigerian gatherings, music was instrumental during the protests. Playlists spanned generations, evident in repeated spins of “Jaga Jaga” and the more recent records, like “Monsters You Made”. Davido’s “Fem” was especially a favourite, often sung at the top of their voices, protesters reworked a line from the song which became “I dey live my life, SARS dey turn am to shoot on sight”, and in addition, the now-popular phrase “why dem come dey para for me?” offered a more potent question than originally intended. Ajebo Hustlers on the infectious mob justice number “Barawo” sang: “This country na wa” and we agreed, filling the streets and demanding only the bare minimum from the government, which was to guarantee the safety of our lives, especially from them. 

It’s is the biggest injustice of all for society to kill its young; in good conscience, one cannot just scroll through the Twitter feed. “Nigeria jaga jaga/ everything scatter scatter/ poor man dey suffer suffer/ gboa gboa, gun shot inna the air,” Eedris Abdulkareem bluntly sang in his 2004 classic, referencing the insecurity, the damning poverty numbers and the hopeless despair felt by many Nigerians over the years. Pressing play on “Jaga Jaga”, you welcome Nigeria into the room as casually as a visitor; its infamous heat, you smell the putrid public toilets, its many decrepit houses, the overfilled rickety danfos. The National Bureau of Statistics (NBS), in a report about poverty and inequality from September 2018 to October 2019, said that 40 percent of Nigerians lived below its poverty line of 137,430 naira ($381.75) a year. That number has surely risen considering the adverse economic effects of the coronavirus, egregiously worsened by politicians who unnecessarily hoarded palliatives meant for their struggling citizens. 

That streetlike quality to “Jaga Jaga” could have passed the record as a Ragga effort, specifically, the boisterous conscious form, popularised by Ajegunle acts like Danfo Drivers and Baba Fryo in the early 2000s. Ragga songs were meant to shock and educate, those two often go together. The production never failed to grab you, not unlike the situations being described on wax —it was under these conditions the street cultivated movement thrived. Danfo Drivers at some point even toured Europe. Also omnipresent in Nigeria at the time were evergreen cuts like African China’s “Mr. President” and Daddy Showkey’s “Fire”. A nation that has had its fair share of riots and death, the government continues to prove their cluelessness about anything that doesn’t include filling their already stuffed pockets with national funds. 

 

As the name suggests, Ragga took cultural precedence from a more developed scene, that of Reggae in Jamaica. Sharing a history of violence with the motherland, Caribbean art, music especially, has always been committed to the task of sociopolitical commentary, advising against rash actions and advocating for peace. In 1992, Nigerian artist Majek Fashek appeared on the American television show Late Night with David Letterman, performing the hit “So Long Too Long”. That memorable chant “Arise from your sleep, Africa!” was the artist’s alliance by the subject matter of his Reggae forebears, Bob Marley and Culture; years on, the haunting lyricism peculiar to records about gritty city life in Jamaican cities like Kingston and Spanish Town would be found in a record like “Jaga Jaga”. 

Odi, a small riverine city in Bayelsa was, in 1999, invaded by the Nigerian military in a most grotesque manner. Civilian deaths numbered in the hundreds and buildings were burned to the ground. Ten years later, in 2009, an artist from the region, Inetimi ‘Timaya’ Odom would record a piece of music that made for history notes on the gross violation of human rights that happened in Odi. “I say dem dun kill dem mama, eh eh,” Timaya sang with clear anger in his tone, the first ‘dem’ referring to the army which descended on the latter  – the people of Odi. Too often the erasure of black lives is considered statistics, numbers rather than lives. The burning desire to make sure the massacre of real humans wasn’t lied about in the history books, that those murdered by soldiers were neither forgotten or disregarded as mere data, charged Timaya to record what has become an epic protest song and arguably his best record. 

Innocent ‘2Face’ Idibia was another such artist to elevate his craft by deciding to sing what he saw, whether bomb or flower. Initially one of the three musicians who made the Nigerian pop group Plantashun Boyz, he was first to exit in 2004,  embarking on a solo career with Kennis Music, the most influential record label of the modern music era. On “Nfana Ibaga“, the opening track of his immersive debut Face 2 Face, 2Face rapped “My mission is to let you all see/ that there’s more to this life than just faking up reality”. As media veteran Osagie Alonge explained on his podcast, A Music in Time, 2Face knew well the Nigerian reality and with his favorite genres (R&B and Hip Hop) historically famous for their political and social relevance, he’d gleaned the framework necessary to convey his innermost thoughts, creating peerless records like “E Be Like Say” and “4 Instance“. Rightly considered among the great artists in Nigeria’s music history, 2Face laid down the blueprint for any pop artist: as important as happy bops are to the party, a threat to regular life discourages thought of a fun night out to begin with. In pop culture parlance, Na who dey alive dey catch cruise. 

***

There’s a Chinua Achebe quote I’m reminded of, “the trouble with Nigeria is simply and squarely a problem of leadership.” Among Nigerian artists, none embodies the angst of that quote like Fela Kuti. The trajectory of Fela’s life –and indeed his music– is a unique one, literally the stuff of legends. His mother, Funmilayo Ransome-Kuti, established the Abeokuta Women’s Union in the 1940s, a body which successfully agitated for women’s rights, demanded an end to unfair taxes on market women and got them better representation in local governing bodies, no mean feat considering this happened in the colonial period. Later in life, Fela would himself show some of that dare, ditching a familial interest in medicine and instead became a professional musician. According to his friend and biographer Carlos Moore, touring the US in 1969 with his band Koola Lobitos, Fela befriended Black Panther member Sandra Izsadore, who introduced him to pro-Black ideals and gifted Fela a book he considers the most influential in his life: Alex Haley’s autobiography of Malcolm X. It challenged his philosophy, leading him to adapt his music –until then an easy-going fusion of Highlife and Jazz– to the intolerable African experience he was born from. His lyrics became harsher and his music employed in full service to a conservative nation that didn’t share his pragmatism. 

“Unknown Soldier”, the Fela song, is identical to “Dem Mama”, the common enemy being the Nigerian military. Fela’s intense recording invokes a stage-like scene where his Lagos residence Kalakuta Republic is the setting and the visiting soldiers the antagonising cast. By the closing minutes, Fela speaks of soldiers throwing his 77-year-old mother from a window, so full of pain his voice threatens to break. With the dutifulness of a memoirist he notes the consequent inquiry led by Justice Dosunmu and Justice Agwu Anya, seizing his properties their primary intent –”government magic”, Fela calls it. Other records like “Sorrow, Tears and Blood” and “Coffin for Head of State” also project the harrowing vision of what it means to be Nigerian. In Fela, we find the necessary language to engage the ruling class. If the several incriminating lies, the incessant inquiry boards and the great discovery of Fashola Holmes has proven anything, it’s that “soro soke” and “Buhari has been a bad boy” are revolutionary embraces, comparable to Kuti’s utterances, more than popping phrases on the internet. 

Although infrequently, the Nigerian music industry has kept a ready playlist of timeless protest songs. “Ole (Bush meat)” from Sound Sultan comes to mind. “I’m not a chicken, I’m a rooster” was an epic line and M.I’s call to dare on “Crowd Mentality” so catchy you felt excited following the example of his raised fist. “Oga Police”, P Square’s classic is still as relevant today as it was fifteen years ago when it was released. Burna Boy throughout his career has embodied conscious pan-African struggles–from “Yawa Dey” to “Monsters You Made”– and has proven dedicated in honoring Fela’s credo. Of course, Fela’s own sons, Femi and Seun Kuti, too have produced classic albums such as the Grammy-nominated ‘No Place For My Dream’ (2013) and ‘Black Times’ (2018) to go with their activism. Veteran rap group Show Dem Camp as well: their famed ‘Clone Wars’ series includes the 2019 album ‘These Buhari Times’, a cult classic that engaged previously unexplored nuances of personhood and society and how that influences one’s outlook on life.  

***

The story of the great American musician Marvin Gaye shapes the perspective for artists creating in the midst of some trouble. A series of unfortunate personal events, most painful being the loss of his partner Tammi Terell, led Gaye into seclusion and the artist stopped recording. Gaye thought deeply of the music he made during this time and in his brother Frankie’s return from war in Vietnam, he knew where to go. They spent time trading stories, and Gaye, writing from Frankie’s perspective of a returning American soldier, produced “What’s Going On” in an attempt to diffuse the tensions of America, especially racially. That led to him unlocking a mastery of his famed vocals. NPR wrote that “[Marvin Gaye] might have set out to deliver one of those call-to-action sermons he’d heard growing up, but he veiled it in the sweet butterfly anguish of his voice and all kinds of musical seductions.” To biographer David Ritz, the artist said he felt like he’d finally learned to sing. “I’d been studying the microphone for a dozen years, and I suddenly saw what I’d been doing wrong. I’d been singing too loud.”

The novelty of Gaye’s ‘coming-of-age’ tempts one to relegate the backstory of that record but that’s what we won’t do. Marvin Gaye’s boss at Motown Records, Berry Gordy Jr., didn’t see the commercial sense in Gaye’s brash deviance from the label’s niche of love numbers and, for a long time, delayed its release. The artist stuck it out and decided he wouldn’t record for Motown if he wasn’t allowed a song cut from his deepest artistic impulses. On January 21, 1971, almost a year after he submitted the record, it was released by the label (without the knowledge of Gordy Jr.) and soon after became a smash hit, reaching number two at the pop charts and earned Gaye much-desired creative freedom. 

On May 30th this year, rapper Elveektor released Nsibidi 2, a tape of seven songs that dabbled in Igbo-centric ideals such as brotherhood, capitalist ambitions and most importantly, the recognition of one’s history. The Igbo Landing of 1803, where a number of Igbo people being transported as slaves drowned themselves in Dunbar Creek, Georgia, inspired the first song off the Nsibidi 2 tape. Track five is titled after the Asaba Massacre of 1967, a heartbreaking pogrom perpetrated against an entire city during the Nigeria-Biafra Civil War. A roll of gunshots and screaming opens the record. This protest song will raise hairs of discomfort even as it honors the slain victims of that malicious event. “During the [Nigeria-Biafra] war, if you listen to [Highlife veteran] Osadebe’s songs and the Oriental Brothers, those were songs about how the military came and killed us. There’d been some protest songs before but those weren’t formally recorded in a studio. Those were more like war songs,” said Elveektor over the phone, speaking on the culture of protest music as he observed in Enugu, where he spent most of his life. “The first actual protest song I heard was in 2012, during the Fuel Subsidy. [Contemporary Nigerian Afro Highlife artist] Flavour remade an Osadebe song. The original record was more like a consolation tune after the war but Flavour turned the record to a protest song. It was quite popular when he released it.” 

It took the #EndSARS protests for a large section of Nigerians to recognize the relevance of detailing our national struggles on wax. They found the typical hedonist themes insufficient. Burna Boy, days after the Lekki massacre, released “20.10. 2020”. Here the strength of Burna’s technique is on full display as his baritone ponders the Nigerian experience, the corruption and injustice, the madness of it all. The most poignant lyric of the song assures the complicit persons behind the massacre that the ghosts of the slain will haunt their dreams. 

As time progresses, we see that artists can be competent voices for change. It’s an economically tough decision but a greater reward means that, like Fela, 2Baba or Gaye, they emerge refined as never before and confident of purpose. That, I think, is a very important reason to surrender one’s art to a cause greater than oneself. You see, the excellence among black communities has never been independent of its many struggles, and the trajectories of these great black artists epitomises that.

Featured Image Credits: BBC

Emmanuel Esomnofu is a Lagos-based culture journalist. Someday he’ll pen The Great Ajegunle Novel but for now, find him winging life as a 21st Century philosopher. Tweet him your favourite Burna Boy deep cuts @E.Esomnofu  

ICYMI: HOW THE FESTIVAL OF LIGHTS CAPTURED THE HEART OF ENDSARS PROTESTS

Here’s what Burna Boy is up against at the 63rd annual Grammy Awards

Posted on by The Native

Yesterday evening, the self-proclaimed African Giant, Burna Boy, earned his second Grammy nomination, mere months after he lost to Beninoise icon, Angelique Kidjo, who herself featured on Africa Giant. Realising Twice As Tall back in August, just a year after his critically acclaimed, commercially resounding middle finger to Coachella and the big font mockers, Burna Boy’s latest album was indubitably positioned for the Grammys’ consideration. Executively produced by Sean ‘Diddy’ Combs, featuring hip-hop legends such as Timbaland and Naughty By Nature, it’s no surprise that Burna Boy, once again, caught the attention of the Recording Academy. But, it is still in the air as to whether or not he will emerge triumphant or if this year’s Grammy campaign will end in another disappointment for Burna Boy and the African listeners who are so fervently rooting for him to bring it home.

Up for the controversially-titled ‘Best Global Music Album’ alongside Burna Boy are: Antibalas, a Brooklyn tribute band also seeking to keep the spirit of Fela alive through their afrobeat music, and most recently the Grammy-nominated album, Fu Chronicles; Brazilian music royalty Bebel Gilberto, who released her first album in six years this august, Agora; British-Indian classical musician Anoushka Shankar’s Love Letter; and 2011 Best World Music Album winners, Tinariwen with their latest instalment, Amadjar.  All these albums are unique in their own merits, but Burna Boy does stand out amongst the rest for his album’s commerciality – which may or may not prove to be a drawback for Twice As Tall.

Heavily contended over the years, the Grammys recently made an attempt to appease audiences by changing the ‘Best World Music Album’ category to ‘Best Global Music Category’. Mentioning that they worked with linguists, amongst other experts, our hopes that this category would be expanded to reflect the multiplicity of music from non-American regions – as opposed to just cosmetically rebuffed – were completely dashed when these nominations came in. As usual, nothing aligns, however, its Burna Boy’s pop tendencies that particularly stick out like a sore thumb.

The fact that Twice As Tall isn’t as classical or traditional as the other albums in the category indicates that it doesn’t quite fit into the ideal specifications of the awarding body, especially when looking back at winners of the category over the years. In the past, wins from Yo-Yo Ma’s Sing Me Home in 2017, Ladysmith Black Mambazo in 2014 and 2018, Soweto Gospel Choir in 2019, and Angelique Kidjo in 2015, ’16 and ’20, suggest that the ‘Global’ or ‘World’ is emphasised not in the artists’ country of origin, but in the proximity to ‘foreignness’ of the music itself. In this light, Burna Boy’s commercial success might actually be a hindrance to him, which is utterly unfair, considering the strength of the body of work. It seems obvious that instead of Burna being nominated amongst composers and instrumentalist, perhaps another category should be made for contemporary productions, separate to the classical compositions that tend to succeed in ‘Best World/Global Music’ – after all, these distinctions do exist for American music in other areas of the award ceremony.

Nevertheless, Burna Boy’s Twice As Tall has been excellently received and is a legitimately solid album, that many have praised as worthy of the Grammy. Unfortunately, however, from looking at the other categories announced this year, a case for commercial success being a deciding factor looks thin. The Weeknd’s “Blinding Lights” broke several Billboard records this year, but received not one nomination, nor did The Weekend himself or Lil Uzi Vert. These were amongst other snubs at popular Black music, such as Pop Smoke and Roddy Ricch nominations being omitted from album categories where they very clearly soared. Clearly, ubiquity isn’t a factor that matters much to the Grammys so we wouldn’t bet on charting success increasing Burna Boy’s chances. We will always be rooting for one of our own, and we do have faith that this Grammy is Burna’s, but one must err on the side of caution.

With that said, in a bid to avoid another shocking disappointment like January’s, the NATIVE team had a look at all the albums Twice As Tall is actually up against, and, below, weigh in on his chances of securing the win, for himself and our continent. We do hope the Recording Academy do the right thing for once, but if they don’t we’ll have a lot of fun calling curtains on the show. The evil they have done is truly enough.

Anoushka Shankar – ‘Love Letter’

British-Indian classical music artist, Anoushka Shankar is one of the strong contenders for the 2021 Grammy Award for Best Global Music Award. Her latest EP, ‘Love Letter’ met the category’s criteria for containing at least 51% playing time of new vocals or instrumental of global music as she personified the deeply complex and meditative intricacies of Indian classical music over the 6-track tape. The EP is her 11th project and just like Burna Boy, Anoushka Shankar is still waiting for her first Grammy win though she’s been nominated more than once. In fact, this is her 7th Grammy nomination since she debuted her self-titled album, ‘Anoushka’ in 1998.

Anoushka Shankar is a Sitarist like her father, the legendary Ravi Shankar who popularised classical Indian music among young westerners of the 60s and 70s with his catalogue of more than 75 albums and 15 film scores. She has continued to perform the Indian inspired music, offering a modern and more accessible progression of the sound. Considering how she’s a veteran of the Grammys’ Best World Music category that has now been renamed as Best Global Music, it’s my opinion that she’s the one who Burna Boy really has to beat to win the Grammy that slipped through his fingers last year.

However, unlike ‘Twice as Tall’ which saw Burna Boy touching on many different topics from growth and loss to our struggles as African, ‘Love Letters’ is deeply personal with Anoushka Shankar speaking on heartbreak, her health issues and domestic troubles. She also worked with a host of trailblazing women from around the world include the principal collaborator, Alev Lenz, twin sister duo, Ibeyi, singer and cellist, Ayanna Witter-Johnson, renowned Indian singer, Shilpa Rao, American mastering engineer, Heba Kadry and British audio engineer, Mandy Parnell.

Debola Abimbolu 

Antibalas – ‘Fu Chronicles’

The legendary afrobeat group, Antibalas isn’t like many other bands we hear today. The 17-person collective comprising of jazz players, singers, saxophonists, drummers, guitarists, and more, originates from Williamsburg, New York. For the past two decades, the group, through its propulsive music, has established New York as one of the centres of afrobeat in the world, with music heavily rooted in the rhythmic afrobeat sounds of late pan-African pioneer Fela Kuti. 

Having recently celebrated their 20 year anniversary as a group since 1998, the musical ensemble released their seventh studio album ‘Fu Chronicles’, a 6-track medley of afrobeat-inspired sounds and martial arts, a form of attack that originated from East Asia which was heavily influenced by the Antibalas British-Nigerian percussionist and lead singer, Duke Amayo, a Kung-Fu instructor. Given that the Grammys has now renamed its former category, Best World Music Album as Best Global Music album, it seems fitting that a collection of work that pays homage to two widely distinct cultures would be a shoo-in for the title. Seeing as the group offers a modern look at the way afrobeat intercepts with the meticulous art of kung-fu, it could very well be seen as offering a more rounded global view of culture and its interconnectedness today.

Last year’s winner, Angelique Kidjo’s album ‘Celia’ was a 10-song project dedicated to Celia Cruz, the singer widely regarded as the Queen of Salsa whom the Angelique shares many similarities with, including being exiled by their home countries as a result of political unrest. Notwithstanding, the fact that Kidjo had won the award three times before last year’s win, ‘Celia’ was a standout album and a fitting win for Kidjo owing to the project’s deeply honest exploration into the work of a Spanish singer from an African perspective while showing that Black people are interconnected through our struggles and our music. The Antibalas‘Fu Chronicles’ is similar in this regard, offering a multi-cultural perspective on music from both the East and West. China is one of the world’s biggest powers today with a large influence on many other nations including Africa, and by exploring this narrative, the Antibalas have contributed to a very pertinent and timely conversation about the nation’s relationship with Africa.

Tami Makinde

Bebel Gilberto – ‘Agora’

Bebel Gilberto is a Brazilian musical icon. Daughter of Samba singer, Miúcha and João Gilberto, who is the pioneer of the Brazilian bossa nova sound, 54-year-old Bebel Gilberto is also the niece of Chico Buarque, a master of the performing arts (vocalist, guitarist and composer, as well as a playwright, songwriter, writer, and poet). In short, Bebel Gilberto is musical royalty in her part of the world, a status that has earned her international acclaim, including regular attendance in Billboard 200’s top ten – where she earned a number one spot for her 2014 studio album, Tudo. Despite her global reach, her deep-rooted influence in Brazil,  and three previous Recording Academy nods (for Bebel Gilberto, Momento, and All In One), Bebel Gilberto has never won a Gramophone award. This year, she hopes to alter the trend, but first her lates album, Agora will have to boot our Twice As Tall, and the other projects that share chances under the Grammys’ ‘Best Global Music’ album.

Popping off right from the start, with effusive drums and theatrical string instrumentation, Agora is a pretty captivating body of work, that flaunts Gilberto’s unique grace – for which she is best known – as well as the alluring dynamism of the ‘bossa nova’ soundscape within which she composes her music.  Developed in Rio De Janeiro between the 1950s and ’60, bossa nova is a type of music stylistically evolved from Samba music. Carrying on the mantle from her legendary father, who pioneered the subgenre, with Agora the junior Gilberto continues to put her city’s indigenous music on the map; only this time she is infusing electronic production styles – thanks to her friend Thomas Bartlett, who produced the album with her in NY – into the, now classical, soundscape.

Of course, on this journey, Gilberto lulls us with her soulful vocals in her vernacular tongue exclusively. Where we think we might be getting an English tune, catering to her sprawling global audience, the introduction for “Cliché” turns out to be nothing more than an intro. When she opens with, “for those who do not know me well/for those who do not know/I’m singing for you,” Gilberto isn’t attempting to pander to non-natives, but simply expressing comfort in her bilingual skills, continuing on in Portuguese, as she does through the whole album. This is where Agora might have a leg up against Twice As Tall. Although Burna Boy does speak Yoruba and Pidgin English through the course of his project, given its pop proclivities, Twice As Tall doesn’t sound nearly as ‘indigenous’ as Agora – which has historically been what the Grammys favour.

When it comes to critical acclaim however, the African Giant scores leaps and bounds over Agora. Unlike Twice As Tall the Bebel Gilberto album failed to enter into the Billboard charts this year, and also received a less than favourable review from largely trusted music critics, Pitchfork. Of course, as Burna Boy is a pop artist, his name is more familiar to contemporary music audiences, but the same could be said of him last year, and he still lost to Kidjo, who took home her fourth Grammy award. In terms of quality, given the completely disparate notes of the album, it is impossible to compare the two albums, especially considering that Bebel Gilberto’s is a sound with which most of us listeners are not familiar. Of course, her soulful vocals (which actually remind me of Sade), her versatility with tempos and her theatrical, innovative compositions are all to be appreciated – Agora is certainly enjoyable. We might not be used to the sound, but within the album exists many commercially viable songs, that could fit within our typical listening tastes. “Na Cara” is an exciting tune whose deep string chords and speedy hand drums invite us into the playful duet between Bebel Gilberto and Mart’nália; “Deixa”’s upbeat tenets and jazzy horns explain the Apple Music star of general approval, whilst the powerful ballad “O Que Não For Dito” moves listeners, even if we are yet to learn that “What Wasn’t Said” was written for Bebel’s father, who passed away last year. Since she started recording in 2017, Gilberto has lost her mother, her best friend and her father, but has still managed to put out a peaceful body of work that rivals the triumphant strokes of Burna Boy’s Twice As Tall. As much as I’d love to see Burna bring it home, I won’t throw any hands if Bebel Gilberto finally secured her Gramophone.

Adewojumi Aderemi

Tinariwen – ‘Amadjar’

Comprising a group of Tuareg musicians, Tinariwen represents a lifestyle that is threatened is by extinction. The Tuareg people are descendants of nomads who lived and roamed around the Sahara desert, settling in varying regions of several countries that intersect the large expanse of land, without being physically tethered to those locations. Due to the geographical constraints of (imaginary) borders between nations, and the continued unrest that plagues the Northern Mali region from which the core band members of Tinariwen hail from, their music is largely one of longing, both for a time past when modern rules and conflicts didn’t impede on a idyll lifestyle, and a future where peace and unity coalesces into utopia.

This central mission might scan as corny, but in the context of their experiences, Tinariwen’s optimism is rebellious. Formed in 1979 while living in Algeria, during a period plagued by a civil war in their native Mali, Tinariwen was formed and has had majority of its story defined by strife. At age four, founder Ibrahim Ag Alhabib witnessed the execution of his father; the band is consistently targeted by militant Islamic groups that have taken their home region hostage, with one of its members abducted for several weeks; and they’ve had to live in intermittent stints of exile from their own, despite being one of the biggest musical exports out of the country, and Africa in general.

‘Amadja’ is Tinariwen’s ninth studio album, and it continues to refine the band’s uniquely captivating brand desert blues, while also longing to carry on the legacy of the Tuareg people “who grew up in the meanderings of the desert”. According to the album liner note, ‘Amadjar’ was composed and rehearsed during a 12-day road trip from Morocco to Mauritania, via the Western Sahara and Atlantic coast. On every evening during the journey, band members would refine “guitar motifs, thoughts and long buried songs” into material for the album. Setting up a final camp in the desert around Nouakchott, capital of Mauritania, the band recorded the songs live in a few takes, working with several collaborators, including famed Mauritanian griotte Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly.

Mainly sung in Tamashek, one of the local dialects of the Tuareg people, the album does have its language barrier, but as the band has proven adept at over the course of previous album, the mixture of emotions—desolation, anger, hope, cheerfulness—are palpable in the choice of instrumental arrangements and vocal delivery, which is alternately led by band members and always backed-up communally. Of all the nominees, Tinariwen is the only past winner of this category, picking up the award for their 2011 album, ‘Tasilli’. Similar to that album, ‘Amadjar’ makes use of acoustic guitar far more than their other LPs—they’re heavily reliant on electric guitar—but it’s clear the band is not pandering; Tinariwen has remained dedicated to evolving its sound and staying true to its message, even in two decades of being the fascination of western audiences. Their familiarity, coupled with the undeniable excellence of ‘Amadjar’ gives Tinariwen a strong chance for another triumph come late January, 2021.

Dennis

Featured Image Credits: NATIVE

ICYMI: WHERE WERE YOU: BURNA BOY’S FUTURISTIC LIVE SHOW AT THE O2 BRIXTON ACADEMY

Where were you: Burna Boy’s futuristic live show at the O2 Brixton Academy

Posted on by The Native

Yesterday, Burna Boy’s recently released album, Twice As Tall was nominated for a Grammy in the Best Global Music category, making it his second nomination. The project was released in the middle of the global pandemic, filled with reflective music which suits the current climate of the world, and luckily, we’ve been able to see Burna perform these songs live, through various late night shows. Last week, however, he put on a full-on concert at the O2 Brixton Academy, making us miss outside even more than we already do.

The demand to see your favourite artists perform in the flesh hasn’t quelled because of a global pandemic but has actually seen a huge spike due in large part to the steady influx of singles and albums we’re still receiving this year. Though experts have predicted that it could be a year, or more, until concert experiences are back in full swing, artists around the world are finding more inventive ways to bring the music directly to the fans. Last week, Wizkid had a 3-hour live stream in partnership with Youtube, very shortly after Burna Boy took the stage at O2 Brixton Academy.

Burna Boy has always been renowned for his live performances and though we couldn’t physically rage with his in this instance, he still brought the energy and delivered an unmissable performance for all.

 

View this post on Instagram

 

A post shared by Burna Boy (@burnaboygram)

Two years after he first graced the O2 Brixton Academy for his highly-anticipated Outside tour, Burna Boy returns to the mainstage for his first live performance since the release of his fifth studio album ‘Twice As Tall’. The special virtual event took place at one of London’s most iconic venues and in collaboration with Ticket Master and MelodyVR. Speaking about the performance, Burna Boy shared that: “I can’t wait to come at you, live from London with MelodyVR. This virtual show will be from the heart to my friends around the world. It’ll be twice as close, twice as realistic, and twice as tall.” And he wasn’t kidding about the twice as realistic part, the live show streamed directly from the O2 Brixton Academy was one of the first of its kind to be experienced by fans and listeners at home virtually on their smartphones and VR headsets via the MelodyVR app – with the option to choose from multiple camera angles to get up close to the action as it happens – or on a browser via the MelodyVR web player.

It was a jaw-dropping production and visual show, with a setlist that spanned the African Giant’s greatest hits including “Soke”, “Yé”, “Killing Dem”, “On The Low”, and newer tracks such as “Monsters You Made”, “Comma“, “Real Life”, and “Onyeka” from Twice as Tall. Burna Boy also played fan-favourite collaborations of his from “Jerusalema” with Master KG to Wizkid’s “Ginger”

The most heartfelt part of his performance came right at the middle of his set when the African Giant played the sombre number “20-10-20”, the song dedicated towards the young Nigerian protesters who lost their lives tragically last month. Two days ahead of the one-month anniversary of their tragic passing, Burna Boy lays his emotions bare on the world stage singing his heart out about the police brutality rampant in our country and the government’s involvement in harassing End SARS protesters. This rendition is followed closely by his performance of “Monsters You Made”, another one of his politicly charged numbers that features Coldplay’s Chris Martin. 

With this performance, Burna Boy, Wizkid in addition to the virtual award show performances we’ve seen, have shown that the future of concerts and festival experiences is not all lost yet, and there could even be an emergence of a new normal when it comes to live performance. We can still feel the fervour and passion of witnessing our favourite artists perform through the comfort and safety of our screens, as we continue to maintain the necessary socially distancing requirements.

As December, our official party season draws nearer, it would be really nice for us to see even more of these.

Featured image credits/AmariJames

.@tamimak_ Is a Staff Writer at The NATIVE

ICYMI: Tems’ “Damages” is topping the charts

Ria Boss celebrates family and community in the new video for “Blood Bound”

Posted on by The Native

The rollercoaster of a year is finally drawing to a close, but artists are keeping us excited and on our toes right till the very end. Ghanaian r&b and neo-soul singer Ria Boss returns to our screens with a new video for her single “Blood Bound”, first released two years ago on her EP ‘Born Day’.

Back in 2018, the soulful artist had embarked on a grand endeavour to release an EP every week for several months for a project she coined as the #THANKGODFORRIA Series. And now finally, she’s expanding the world around the series by releasing the video to “Blood Bound”, a song that speaks to the value and importance of our family, chosen or otherwise, released as the singer celebrates her birthday.

 

View this post on Instagram

 

A post shared by Ria Boss (@theriaboss)

Our nuclear families are the first social point of contact for many of us growing up, many of the values that we hold today can be traced back to our nuclear families which shape the way that we view the world today. On the reflective track, “Blood Bound”, Ria Boss knows the importance of her family and sings about their unwavering love for each other despite what life may throw their way. She’s sombre, contemplating who has really got her back in the world but rather than lose all hope, she remains fortified knowing that her family who is “bound by blood” will be there for her no matter the weather.

The self-directed music video, in collaboration with Elikem Akpalu, shows the singer in the garden surrounded by the women she loves the most. Ria delivers a snapshot of a family who stands together, sitting beside her mother in silence as they both majestically wait at the foot of her grandmother. The scene warmly shows three generations of women bonded together by blood but strengthened by their love for each other. As Ria Boss echoes the words “family is soul” over the song’s neo-soul ready strings, she burns sage and cleanses her environment, wading off whatever would be a threat to such a beautiful familial moment. Keeping in line with her earlier release “Call Up”, Ria Boss uses her music to remind listeners about the importance of finding and cherishing your people. It’s sweet and sentimental and the perfect pick me up for the mid-week blues.

Watch the video for “Blood Bound” below.

Featured image credits/Instagram:iamelikem

.@tamimak_ Is a Staff Writer at The NATIVE

ICYMI: Get to know Ghanaian neo-soul goddess, Ria Boss

Burna Boy & Rema nominated for Best International Act at MOBO Awards 2020

Posted on by The Native

Established in 1996, the MOBO awards is dedicated to honouring “music of black origins”, nominating and awarding artists making music that fit under this ambiguous umbrella, in the UK and across the diaspora. After the 2017 edition, the annual award event went on a 1-year hiatus which turned into an indefinite break. On December 9th, however, the MOBO awards will be returning for its first edition in three years.

This year’s MOBO awards will continue from where it left off, championing some of the best music and artists from the year in review—September 2019 to August 2020. Due to the ongoing coronavirus pandemic, the award show will be held virtually and live-streamed on YouTube at 7pm (GMT) on the allotted date. This year’s edition will be preceded by special programming on BBC Radio 1Xtra, including a talk show on Sunday, December 6 (9-10pm), which will look back at the last 24 years of MOBO history. The 90-minute ceremony will feature performances by Headie One, Ms. Banks, Tiwa Savage, Kojey Radical and more, and it is set to be co-hosted by TV/radio presenter Maya Jama and artist/comedian Chunkz.

 

View this post on Instagram

 

A post shared by MOBO (@moboawards)

Nominees for this year’s events have also been announced, with veteran rapper Nines leading the pack with five nominations, while Lianne LaHavas, Mahalia and Tiana Major9 follow with three nods. The categories are mixture of voting and non-voting, meaning that fans have a say in the winners of the former category types.

Burna Boy and Rema are the only African artists with multiple nominations, both scoring nominations for Best International Act and Best African Act. For the year in review, Burna’s fourth studio album, ‘African Giant’, vaulted higher into global prominence, historically selling out London’s SSE Arena, and his latest studio album, ‘Twice As Tall’ has been critically acclaimed and commercially successful across continents. In Rema’s case, the chameleonic artist finished the past year as a global breakout star with his immaculate trio of EPs, and he continued his fine run this year, with hit singles, including the ubiquitous smash, “Woman”.

Joining Burna and Rema in the Best International Act category are Drake, Koffee, Megan Thee Stallion, Pop Smoke (R.I.P), Popcaan, Roddy Ricch, Shensea, Summer Walker, H.E.R and Lil Baby. The other nominees in the Best African Act category are Tiwa Savage, Davido, Fireboy DML, Master KG, Adekunle Gold, NSG, Afro B, Wizkid, Shatta Wale and Stonebwoy. Both these categories are open to public voting, interested fans can go here to cast their votes. You can also find the full nominees list here.

[Featured Image Credits: Web/Guardian]

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

TURNTABLE TOP 50: DAVIDO’S ‘A BETTER TIME’ LEADS THE CHARGE THIS WEEK

This is what we’re expecting the 2021 Grammy nominations to look like

Posted on by The Native

Let’s be honest, 2020 has been a shit show. From battling a global pandemic with seismic effects on the global economy and life as we once knew it, to rallying together in strong opposition against police brutality, racism, and years of corruption and violence in several parts of the world it has been a strife-filled year. Luckily, we’re near the end with only 5 weeks left, and are looking ahead into next year, with one of the music world’s biggest nights, The Grammy Awards looming.

Ironically, before the pandemic The Grammys were one of the last awards shows held in person, and other award shows throughout the year have become a virtual event, in efforts to remain socially distanced. However, come COVID-19 vaccine or not, the prestigious night is set to take place next January, celebrating the best of the fold for their achievements and contributions to music and wider pop culture this past year.

So far this year, the rookies seem to be dominating conversation, and seem to have been preparing for this pivotal moment. Roddy Ricch’s “The Box” remained at number one for over 10 weeks, and also racked up over 68.2 million weekly streams, which became the highest nonseasonal stream total since Lil Nas X’s almighty “Old Town Road” last summer. In addition, Roddy also joined Lil Baby as the only two rappers this year to go double platinum this year with the release of his single “My Turn” back in February. Both artists are a definite shoo-in for even more accolades 63rd Grammy Awards having already bagged similar awards at previous shows this year such as the MTV EMAs, the AMA’s, and the BET Hip-Hop Awards. The Weeknd’s ‘After Hours’ spent 34 weeks in the #1 spot on the Billboard R&B album charts and Summer Walker’s ‘Over It’ spent 58 weeks in the charts. And black women stole the show with Megan thee Stallion’s standout single “Savage” taking over the quarantine, and populating social media platforms from Twitter to TikTok before landing a Queen Bey stamp of approval with the “Savage Remix”. Cardi B and Megan thee Stallion’s “WAP” also broke the US record for the most first-week streams for a song and riled up misogynists in one clean sweep landing them the Best Hip-Hop/Rap song at the AMA’s yesterday.

Over in these parts, this year has been cosmic for African music on the global scene. There’s no denying that the world has turned its focus on Africa and the wealth of talent that exists across the creative arts, upping the stakes for many African artists and fostering an environment where they can attain global cultural relevance. Last year, Burna Boy was nominated for the former Best World Music Album category for his 2019 album, ‘African Giant‘, though he missed out on bringing the golden gramophone to Nigeria, this year the self-proclaimed African Giant returns with his third major-label release ‘Twice As Tall’, an undoubtably Grammy contender. Since  he was nominated last year, conversation surrounding the Grammy’s have mostly been about him, however, he’s  not the only one gunning for the glory. Many of the afropop’s current frontrunners have been positioning themselves for recognition on this scale for quite some time, and with big wig label signings, have increased chances of global recognition. Tiwa Savage and Sauti Sol are currently signed to Universal Music Group, while Nasty C recently penned a deal with Def Jam Records, Adekunle Gold with UK’s Virgin EMI Records and even younger, less mainstream acts such as Cruel Santino have bagged a joint venture deals with LVRN giving them higher chances of a cultural impact on a worldwide scale. This year also, the cross-Atlantic collaborations have only multiplied with standouts including Pop Smoke and Burna Boy, Nicki Minaj and Davido, Burna Boy and Naughty by Nature, Tiwa Savage and Sam Smith, Nasty C and T.I Tems, Davido and Khalid and so many more.

In the year after Burna Boy’s widely discussed Grammy nod and the Coachella fiasco, currently, Nigerian albums such as Burna Boy’s ‘Twice As Tall‘, Wizkid’s ‘Made in Lagos’ and Davido’s ‘A Better Time’ rank respectively at nos. 54, 80 & 170 on the Billboard Top 200 albums, typifying the current level of recognition that African music is garnering on a global scale. It doesn’t hurt that the music is also getting recognition on smaller circuits, Burna Boy bagged the MTV EMA awards in 2019 but was unsuccessful the following year losing to South African artist Master KG for his hit single “Jerusalema” (which the African Giant later featured on). Burna Boy later won the award for Best International Act at the BET Awards two years in a row and Mr Eazi recently won Best Best Urban Music Album for his work on J Balvin’s ‘Colours’. Given that award shows like the Grammys portray themselves to be the forebearer of music, culture, and entertainment, it only follows that recognition or nod from the Academy is seen as just indication that an artist has reached the upper echelons of success and popularity on a global scale.

In the past years, the Grammys have made a couple of changes to their set structures to be more inclusive to the diverse range of artists and music that we’re getting today. Earlier on in the month, the Grammys announced that they would be renaming the coveted ‘Best World Music Album’ category, to ‘Best Global Music Album’ stating that the change was pushed to better show cultural sensitivity.“As We Continue To Embrace A Truly Global Mindset, We Update Our Language To Reflect A More Appropriate Categorization That Seeks To Engage And Celebrate The Current Scope Of Music Around The World”, the statement read. The move was seen as long overdue as the former term ‘world music’ had always been under contestation given that it connotes the harmful colonial idea that there’s a catch-all phrase for every style of music from around the world that isn’t familiar to an American audience.

However, although the Grammys are just recently waking up to this development, it is yet to be seen how and if at all the scope of the award would change, possibly suggesting that nominees under this category would still remain wildly disparate and encompass artists from a diverse range of backgrounds and sounds, as it has in the past from Nigeria’s Burna Boy to The Netherland’s Altin Gün. Previous Grammy award winners such as  Angelique Kidjo have been vocal about the outdated categorisation of the award show, in an interview with OkayAfrica, Kidjo, pushed back against the patronising attitudes embodied by the Grammys and emphasised that African music was far too distinct to be lumped into one category that failed to do justice to its diversity.

This time around, the stakes are even higher for the ‘Best Global Music Album’ win, in West Africa, both Burna Boy and Tiwa Savage have dropped albums that are eligible for nomination in the category. Over in South Africa, Nasty C made his first major-label release under Def Jam Records with ‘Zulu Man with Some Power’ and over in the East, Sauti Sol’s ‘Midnight Train’ is also eligible for nomination. Winning the award especially would mean so much in this year, where the pandemic and the global struggle for freedom on all fronts united our hearts and ears through music. We believe that the 63rd Grammys would show a lot of diversity this time around, encompassing artists from around the world. Owing to the remarkable run that afropop has had this year though, we’re hopeful that one of ours will take the prize home again this year. Burna Boy seems like the obvious potential for this year’s nomination seeing as the ‘African Giant’ lost out on the award last year to Angelique Kidjo but bounced back a year later with ‘Twice As Tall’. Coming back this year with a star-studded guest list that featured Naughty by Nature, Chris Martins, Stormzy, and Youssou N’Dour, Burna Boy’s global-facing agenda is clear, and he could very well bring the award home.

 

View this post on Instagram

 

A post shared by Burna Boy (@burnaboygram)

With artists such as Tiwa Savage, Sauti Sol, and Nasty C, the prospect of nomination is hinged on the cultural impact that their albums have had since release. Earlier in the year, following the release of his album ‘Zulu Man with Some Power’, Nasty C set a new record for the most pre-adds for an upcoming album on Apple Music, as announced on Apple Music’s Africa Now radio show. He also featured American rappers like T.I, Lil Keed, Lil Gotit, and Ari Lennox, which earned him the title of the most streamed hip-hop/rap artist in Africa.

Similarly Tiwa Savage’s third studio album ‘Celia’ featured guest appearances from Sam Smith, Stefflon Don, Naira Marley, and more, earning the artist her well-deserved stripes as she made chart history throughout the country. ‘Celia’ was also very important culturally, as a female entertainer (and a mother) Tiwa Savage is chided by critics for the way she addresses sex and sexuality in her music, much like we find to be the case with other female artists such as Megan Thee Stallion, Cardi B and even Beyoncé. With ‘Celia’, African women are getting the nuanced and detailed representation of their lives by a woman who has lived through similar experiences and bounced back each time. Kenya’s Sauti Sol have become one of the musical groups to reckon with in recent times, with the group attaining a mainstay spot on many afropop albums that emerged from Africa this year including Burna Boy’s ‘Twice As Tall’, Niniola’s ‘Colours and Sounds’ and Davido’s ‘A Better Time’.

As the clock ticks and the time for the announcement of this year’s set of nominees draws closer, the team at the NATIVE compiled our predictions of 2021 nominees and potential winners across 10 categories including Best World Music, Best New Artist, Rap Song of the Year, and Best R&B Song. Have a look at our picks and see which ones you would stick or switch.

Best Global Music Album

Burna Boy – Twice As Tall

Tiwa Savage – Celia

Sauti Sol – Midnight Train

Nasty C – Zulu Man with Some Power

Davido – A Good Time 

Best Rap Album

Roddy Ricch – ‘Please Excuse Me For Being Antisocial’

Run The Jewels – ‘RT J4′

Megan thee Stallion – ‘Suga’

Pop Smoke – ‘Shoot For The Stars, Aim For The Moon’

Lil Baby – ‘My Turn’

Best Rap Song

Pop Smoke – “The Woo”

Megan thee Stallion – “Savage”

Roddy Ricch – “The Box”

Doja Cat – “Say So”

Lil Baby – “The Bigger Picture”

Best Rap Performance

Run the Jewels – “Oh La La”

Megan thee Stallion “Savage Remix” featuring Beyoncé

Roddy Ricch – “The Box”

Drake & Future – “Life Is Good”

Lil Baby – “The Bigger Picture”

Best R&B Album

Summer Walker – Over It

Dua Lipa – Future Nostalgia

The Weeknd – After Hours

Chloe x Halle – Ungold Hour

Jhene Aiko – Chilombo

Best R&B Song

The Weeknd – “Snowchild”

Chloe x Halle – “Do It”

Teyana Taylor – “Wake Up Love”

Snoh Alegra – “Whoa”

FKA Twigs – “Cellophane”

Record of the Year

The Weeknd – “Blinding Lights”

Harry Styles – “Adore You”

Roddy Ricch – “The Box”

Megan thee Stallion – “Savage”

Lady Gaga – “Rain on Me”

Album of the Year

Taylor Swift – Folklore

Fiona Apple – Fetch the Bolt Cutters

Roddy Ricch – Please Excuse Me For Being Antisocial

Lady Gaga – Chromatica

Dua Lipa – Future Nostalgia 

[wysija_form id=”1″]

Words by Tami Makinde, Nominations by the NATIVE team

ICYMI: The Grammys rename ‘Best World Music Album’ category

Best New Music: Omah Lay’s “Godly” is a celebration of good living

Posted on by The Native

There’s no doubt about how brightly Omah Lay’s star is burning, and considering the short time it took for Omah Lay to become one of Nigeria’s hottest artists, it can be easy to forget that he hasn’t always been around. The whole world is currently experiencing a pandemic that has put an indefinite pause on live music and enjoying afropop on the sweaty dancefloors they were designed for, and this is what seems to have made room for the kind of music Omah Lay makes to catch on with the entire nation.

Our first introduction to him was with the catchy love song, “You”, which gained the entire country’s attention before the pandemic hit, and he really got to flex his muscles and show us what he’s really about with his debut EP, ‘Get Layd’. Before this horrible year, the Port Harcourt-born singer’s chilly voice and introspective cadence would have gained him a reputation as a niche artist who isn’t appealing to mainstream Nigerian music’s demand for festivities. However, in our present self-isolating climate, alt-afropop has turned into commercial paydirt and has allowed Omah Lay soar very quickly, much of which he speaks about on his new EP, ‘What Have We Done’.

 

View this post on Instagram

 

A post shared by Omah Lay (@omah_lay)


On the recently released EP, Omah Lay continues to double down on his introspective songwriting, as he explored the feelings and anxieties that came with his newfound fame. With the project’s centerpiece, “Godly”, he spun a narrative that concludes that drinking and a relationship with God are the remedies for anxiety in the face of isolation. The song is a dramatic and intently personal narration of Omah Lay’s struggles, while grinding to become the superstar he is today. And as such, he’s able to mix raw emotions with a spiritual message for how his faith in God has helped him achieve his dream.

Religious themes are pretty commonplace in the Nigerian music scene, and artists never really shy away from praising and thanking God through their music. Just as we heard Naira Marley saying “Mi o l’ogun, mo ni Quran(I don’t use jazz, I have the Quran)” on his controversial single, “Soapy”, Omah Lay is sinilarly presenting himself as he is, by showing appreciation for ‘Henny and ice’, just before thanking God for being there for him in his dark times in the same breath. Though this might seem odd and even blasphemous to some Nigerians who take religious teachings and beliefs as an absolute, this shows that they are incorrect to conclude that people who indulge in vices religion teaches us against, have completely lost touch with God. As a generation, we tend to do things only on our own terms, and with this song, Omah Lay represents the penchant for spirituality over institutionalised religion.

Rather than dropping star-making brags as a now certified pop star, he chose to focus on his more vulnerable moments and giving gratitude to God. Singing “Only God na him comfort (him)”, he expresses a painfully relatable sentiment that seems fitting to bleak situation around the world, in the middle of a global pandemic, with people searching for some grounding in these tumultuous times. Despite these somber reflections, however, the smooth dancehall rhythm of the Tempoe produced beat makes “Godly” fit for motivation music at the gym , as well as TikTok dance challenges. The cover art for the EP portrays Omah lay covering most of his face with his fingers. Similarly, the music is also thinly veiled with mystery as he cries “Only God na him know the kind of thing I do”, leaving some details of his story tantalizingly out of view.

The best music is the kind you can feel, and with his entire EP, Omah Lay certainly evokes feeling. With “Godly”, he interestingly weaves two worlds together, presenting God’s Grace to whoever is listening without seeming preachy or even like a gospel song.

Stream “Godly” below.

Featured Image Credits: Instagram/omahlay
[mc4wp_form id=”26074″]

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: Listen to Omah Lay’s 5-track EP, ‘What Have We Done’ Here

An update on the Nigerian Army’s response to the #LekkiMassacre

Posted on by The Native

On Saturday, November 21, the judicial panel of inquiry set up by the Lagos state government held its eleventh public sitting. Initially saddled with the responsibility of looking into complaints of police brutality, investigating the Lekki tollgate killings of peaceful #EndSARS protesters by soldiers of the Nigerian army has been added to the panel’s list of duties. With a wider scope that includes one of the most heinous acts of state-sanctioned brutality in Nigeria’s third republic, attention on the Lagos State judicial panel has been intensified, to ensure every inch of the truth is uncovered.

Livestreamed on social media, and with real time Twitter threads from multiple sources present at the sitting, thousands of concerned people were given access to follow the day’s happenings. At Saturday’s public sitting, the panel gave sole attention to the Lekki tollgate massacre, reviewing CCTV footage provided by the Lekki Concession Company (LCC) for the first few hours. The footage emphatically showed that soldiers of the Nigerian army arrived at the Lekki-Victoria Island tollgate at 6:41pm, a timing that was consistent with eyewitness reports shared on that October 20, 2020 evening.

Mainly captured from a bird’s eye view, the footage isn’t close enough to ascertain every single detail, but it’s clear enough to confirm (AGAIN) that the army was present at the protest ground and unarmed civilians were scurrying around for protection against them. It contradicts (AGAIN) the army’s ongoing fake news campaign, which started out with outright denials and has evolved into twisting the facts of those tragic events, such as, claiming they were there to ensure the safety of protesters against hoodlums, lying that no lives were lost or serious injuries were recorded, since only blank ammunitions were employed, and they were shot in the air rather than at protesters.

The footage also shows that contrary to the claims that they closed operations at the Lekki tollgate at 4pm due to the state-imposed curfew, the LCC was still carrying out its duties on those grounds, albeit allegedly cutting off some of their services, which included the loss of power that enabled the army carry out its heinous acts, and the granular video quality of the night—till past 8pm, at least—in question. With all of the inconsistent statements by the Nigerian army and the LCC, it’s worth nothing that aggrieved Nigerians and other concerned persons have been CONSISTENT with what really happened on October 20, 2020 at the Lekki tollgate: The Nigerian army attacked unarmed civilians for peacefully protesting.

Last week, CNN published an investigative report, confirming and bringing a new light to the massacre. Comprising written and visual components, CNN’s report thoroughly detailed their findings, from ballistic tracing of bullets used to documenting the stories of victims and families still in search of their loved ones. While the Nigerian army has chosen to publicly ignore this report, as part of its “fake news” campaign, the federal government, through the minister of information Lai Mohammed, immediately railed against CNN, likening it to “a poor piece of journalistic work” and threatening to sanction the news network for reporting unfairly and inaccurately. Just yesterday, November 23, the Nigerian government formally wrote to CNN, demanding that the news outlet re-examine its report. In the letter signed by Mr Mohammed, the government says “it reserves the right to take action within its laws to prevent CNN from aggravating the #EndSARS crisis.”

Regardless of these annoying but unsurprising reactions by the Nigerian army and government, CNN’s report was the latest in a series of reports confirming the reality of the Lekki tollgate massacre, and perhaps, it’s this constant truth-telling that will help in putting pressure on perpetrators and accomplices to take full accountability of their roles in the deaths, injuries and alleged persecution of unarmed civilians. Taking place about five days after CNN’s investigative report rekindled public anger, Saturday’s panel sitting also included testimony from the Nigerian army, during which, for the very first time, it admitted to carrying live bullets to the protest ground.

Represented by Brigadier General Ahmed Ibrahim Taiwo, commander of 81 division (unit of the army where the soldiers were deployed from), the Nigerian army testified in front of the panel for the second time, under cross-examination from Mr. Olumide Fusika (SAN) and Mr. Adesina Ogunlana, both counsels for #EndSARS protesters. In nearly three hours of questioning, Brig. Gen. Taiwo dropped the bombshell that the soldiers had been supplied with both live and blank bullets, but remained adamant that live bullets had not been used on peaceful protesters.

He, however, noted that the soldiers engaged with hoodlums who had infiltrated the protesters and pelted the soldiers with stones. Interestingly, the footage doesn’t show soldiers being attacked, rather it was unarmed civilians fleeing at the army’s presence, with some even jumping into the lagoon nearby—as also cited by Premium Time’s investigative report. Gen. Taiwo also confirmed the presence of the police, further confirming eyewitness reports that men of the Nigerian police came to terrorise those left at the tollgate after the soldiers had vacated.

All of this only juxtaposes the consistency of truth and the inconsistencies that run rampant when a lie begins to unravel. Unlike the army, the lot of us know, saw and have accepted the truth and we simply want to ensure accountability and justice for the lives lost, those injured, and others being persecuted. The Lagos state judicial panel has been saddled with asking all the right questions to ensure details of the Lekki massacre of October 20, 2020 isn’t muddled or swept under the rug by “powers beyond our control”, it’s why concerned Nigerians have refused to blink throughout this process, even if the track record isn’t at all encouraging.

The Lagos state judicial panel resumes Tuesday, November 24, 2020, to continue resolving police brutality complaints from citizens in the state. The panel is expected to continue public sitting on the Lekki massacre on Friday, November 27, 2020, with scheduled testimony from the Manging Director of the LCC. We’ll definitely be keeping our eyes peeled and our ears open for that.

[Nationwide panels are also sitting, and you can keep track of all the happenings right here.]

ICYMI: HERE’S WHAT WE KNOW ABOUT THE #ENDSARS JUDICIAL PANELS

Turntable Top 50: Davido’s ‘A Better Time’ leads the charge this week

Posted on by The Native

The TurnTable top 50 charts has just entered its third week, builds on its reputation to become the go-to place for reliable, data-driven information about the most impactful songs in the country. At the inaugural edition of the weekly TurnTable Top 50 charts, Wizkid stole the show with the release of his highly anticipated fourth studio album ‘Made in Lagos’, which appeared four times within the top 10 countdown alone. The Burna Boy-assisted “Ginger”, “Reckless”, “No Stress” and “Blessed” featuring Damian Marley dominated the top 10 selection setting a record on the novel chart that was yet to be best–until now.

This week, Davido dominates the TurnTable Top 50 chart as his third studio album breaks multiple first-week streams across several platforms. His recently released album ‘A Better Time’ is now dominating in the charts, leading with seven songs currently in the Top 10 alone including “The Best”, “FEM”, “So Crazy” and new entry “Jowo”, Davido tops Wizkid’s previously set record of four songs recorded only two weeks ago. The Nicki Minaj-assisted “Holy Ground” debuts at no.1 on Top Streaming Chart with 3.80 million equivalent streams, becoming Davido’s third leader on the streaming chart, having previously led the list with “FEM” for three weeks. Davido has also set a new record for most top ten debuts in a week (5), most top five entries (4), and most top twenty entries (11). He now equals the record for most top-five debuts (3 shared with Wizkid) and most top twenty debuts (9, also shared with Wizkid).

The news of Davido’s successful first-week streams comes just as the announcement of the artist’s debut entry on the Billboard Top 200 Albums is announced. ‘A Better Time’ debuts at no.170 on the chart, becoming Davido’s first charting album ever and joining forces with the likes of Burna Boy’s ‘Twice As Tall’ (no.54), Wizkid’s ‘Made in Lagos’ and ‘Sounds from the Other Side’ (respectively at nos. 80 and 107). This record achievement shows that Davido is exceeding both home and abroad, a marker of his global-facing agenda coming full circle. And although the top 10 is a clear Davido monopoly this week, Wizkid’s “Ginger” featuring Burna Boy, Olamide’s “Triumphant” featuring Bella Shmurda, and his Omah Lay-assusted “Infinity” are the three other singles to mark the upper echelons of the chart. Amongst these, “Infinity” is the only other song on the top 10 chart which ranks highest, dropping to No. 5 after peaking at No. 2 last week.

Over on Youtube, Davido is also making waves. The singer has now set a new record on Youtube NG with ‘A Better Time’ as he earns the biggest debut week every by an album recording 1.74 million views. “Holy Ground” featuring Nicki Minaj is also the No. 1 song on YouTube NG this week with 331,000 views. Three other Davido songs make an appearance in the top 5 including “So Crazy” featuring Lil Baby and “The Best” featuring Mayorkun occupying No. 3 and No. 5 respectively.

Patoranking’s “Abule” which previously sat at #5 is now at #11 on the chart, along with Tems’ “Damages” which is now at #15 after moving down from #8 the week before, earning the singer and producer, one of her highest-charting singles since “Try Me” last year. Cheque’s “Zoom”also dropped from #6 and currently sits within the Top 20 at #17

[wysija_form id=”1″]

Featured image credits/Deeds_Art

Available @tamimak_ 

ICYMI: The usual suspects top the charts second week

Songs of the Day: New music from Tim Lyre, Lil Kesh, Loti and 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 now resumed our column, Songs of the Day as a nod to the artists putting out great music that serve as a momentary escape from all the grimness of the current news cycle.

Our weekend curation included new releases from Tekno, new Aristokrat signee Jujuboy, Cuppy, Black Coffee, Samthing Soweto, and more. To start the new week, we’re bringing you new music from Tim Lyre, Lil Kesh, Lyta, Loti, Remi Nubi, and more. Dig in and enjoy.

Tim Lyre – “Rewind” featuring JVSH

It’s Tim Lyre season. Following an impressive run of releases since the beginning of the year (‘Senpai’, ‘3 Strains’ with Fasina, and “Fakogbe” with Chop Life Crew), the singer and producer is set to return with a new 5-track EP offering, titled ‘K.A.P’. Though we’re yet to find out what the entire thing represents, Tim Lyre is wasting no time to invite us into his sonic world with the release of new single “Rewind” featuring JVSH. Produced by DaRe, the mid-tempo afro dancehall ballad captures the joy of being entangled with a romantic partner. Singing “You can always rely pon the boy for a good time/slow pon the rhythm rewind” over the song’s infectious hook, Tim Lyre showcases more of the versatility that we have come to expect and love from his music.

Loti and KD – “Fantasy”

To round off the year, Fresh Meat alum, Loti, is back with a new two-pack single titled “Perfect Fantasy” and as the name suggests, it’s perfectly suited to get you through the new week. On the compelling second track “Fantasy”, Loti soundtracks the euphoric feeling of stealing private intimate moments with one’s love interest. Over the uptempo beat produced by KD, Loti sings “Would you be my company, girl you’re all I need/Come get all of me, you’re my fantasy” on the song’s boisterous hook, laying down his sensual intentions to rendezvous with the woman he likes. All his cards are on the table and Loti feels an irresistible pull to this woman. We’ee all in for the thrilling sonic ride.

Lyta – “Everybody”

After signing to Marlian Music back in August, singer/rapper Lyta came under heat for plagiarism and copyright infringement for his debut single with the label, “Hold Me Down”. Regardless, the artist is showing no signs of a setback as he’s ready to wind off the tumultuous year with new single titled “Everybody”. Over the catchy beat produced by Killertunes, he confidently sings “If you like carry everything for your shoulder, dem go still say you do bad/No be everybody go love you” advising listeners to stay focused on themselves because the world can be pretty unforgiving. By the sounds of things, Lyta is not in the business of focusing on what other people think, he’s more interested in touching the sky despite all the odds set against him. As the chaotic year rolls on, we think this is very timely advice.

Lil Kesh – “Love Like This” featuring Fireboy DML

This year, securing a Fireboy DML feature on your song is a confirmed hit and Lil Kesh clearly recognised this, as he’s tapped into the YBNL singer for the new romantic single “Love Like This”, which featured on his recently released EP ‘Ecstasy’. Over the mid-tempo beat produced by Type A, both artists deliver a soothing and sumptuous ode to the love of their lives. Fireboy DML takes the reign on the song’s hook singing about the rarity of his partner’s love before being joined by Lil Kesh on the song’s first verse. Lil Kesh sings ‘You dey give me time anytime I lie or compromise/You dey give me life anytime I am down’, listing out the numerous qualities that keep him committed to the girl of his dreams.

Remi Nubi – “On the Low”

Sexuality in music has become a mainstay with more artists confidently exploring the intricacies of romantic acts, even more so within afropop where the message is perfectly couched underneath layers of exuberant production. Women, especially are becoming more audacious than society would expect from them, speaking about their escapades and soundtracking the feeling of getting down and dirty.  This is why for her debut single, US-based singer, Remi Nubi taps into romantic sensual cuts on her new release “On The Low” produced by Jrocs and Odd is Normal. Over the mid-tempo beat, she sings “Only you I want by my side/you know I want you tonight, and you know I get what I like” over the song’s hook, confidently stating what she wants and knowing that it’ll be hers.

Featured image credits/Instagram

.@tamimak_ Is a Staff Writer at The NATIVE

ICYMI: The importance of women sharing their experiences through music

Wurld talks us through ‘AFROSOUL (Deluxe)’, track-by-track

Posted on by The Native

A lot has been written and discussed about afropop’s continuous rise to global popularity. The investment from international labels – such as RCA, Warner Brothers and Universal Music – the mainstream’s acceptance of regional accents, and the crossover appeal of artists who can blend indigenous sounds with contemporary pop tastes, have all been cited as reasons for afropop’s newfound global dominance. WurlD is so perfectly positioned to capitalise on this.

WurlD was born in Lagos, Nigeria before he eventually traveled to America, where he learned how to make music. As a result, WurlD’s songs straddle the two worlds, as he fuses his indigenous fuji, juju and highlife influences with the mainstream demand for pop, EDM, r&b and soul in today’s modern soundscape. His tone is polite, with traces of traditional hospitality, but his lyrics can also be flirtatious, as dirty as a Louisiana strip club; it’s no wonder the singer has become a go-to songwriter for some of Afropop and R&B’s biggest acts, from Davido to Mario.

Although the pandemic means fans can’t experience WurlD’s live shows as they did last year, he has continued to deliver bops, using his beat selection that nods to pop culture as a bridge between international and local audiences.“I remember we started in LA and I finished it in Lagos,” he said, explaining how “Story” was recorded during the quarantine. Speaking to NATIVE  via WhatsApp voice notes, as he geared up for the release of the deluxe version of his latest EP, ‘Afrosoul’, WurlD reveals the inspiration behind each of the original tracks as well as the 2 new records, including features from Kida Kudz and DJ Cuppy. Below, you can enjoy the NATIVE‘s exclusive track by track with WurlD, as you let the glorious singer talk you through his vision and the deeply personal stories that inspired the music.

 

View this post on Instagram

 

A post shared by WurlD (@thisiswurld)

“National Anthem (Growing Wings)”

As you guys can identify with me by now, I love experimenting with afrobeats and soul. I was born in Lagos but I learned how to create music overseas and that gives me a certain way I see my fusion of all these sounds. So “National Anthem” going into “Growing Wings”, is the same narrative. The first part of “National Anthem” just talks about being strong; I want to say I empower my fans with those lyrics. “National Anthem” is a combination of “Contagious” and “Paranoid”. I envisioned creating a song that fused both sounds and I wanted to make one record that transitioned the narrative. It wasn’t easy doing it but I’m so so blessed to have been able to create that record.

“Ghost Town”

“Ghost Town” is inspired by my personal experience and I felt the need to put that in a song. I had a moment in my life where I felt like a lot of people that were supposed to be on my side, supporting me, disappeared when I was at a low time in my life. I experienced one thing where I felt like my environment was a ghost town. Nobody cared about what I was doing because, you know, it’s not great right now. And I observed how people come around when you’re winning but when you’re nobody when you got nothing going on, it’s a ghost town around you.

So “Ghost Town” is really a record about survival and observing what happens. I feel like we as human beings are striving daily to be our very best because we know deep down that people only come around cause you’re hot. It’s almost like pressure. “Ghost Town” is also about the journey.

“Love Nobody”

When you find that one person that you care about, you don’t want them next to anybody. A lot of women, when they start getting attached to so someone they care about, they don’t want to share that person. That’s what inspired that conversation. But with the choice of the sounds, I wanted people to dance. I wanted to keep it in the dance environment.

“Story”

“Story” was actually the most difficult song to make from the original project. We created the beat from scratch – I, Shizzi and a great producer friend of mine, Soco in – the beat, the sounds, the vibe. We made the sound from scratch but left it alone for a while.

What made it difficult to go back to it was that same day, we hopped on another vibe produced by Shizzi as well and that vibe was what became “Sweet in the Middle”. For “Story”, we had to come back to that like months after and I kept calling Shizzi like “yo like this rhythm is different, it’s fresh”. I just loved everything about it and I felt like it was a song I had to finish. I remember we started in LA and I finished it in Lagos. The energy felt right, I mixed the song myself too, because I was in quarantine. It was a beautiful experience from start to finish.

“Wayo”

It was really difficult to decide what the fans were going to gravitate towards. I learned to let go, and, for me, I just focused on making sure the music is great and let people love what they love and I’m there to support it. I’m not surprised about “Wayo”. I’m just excited that people love it. I try to wash my hands after the music is done.

“Can’t come outside”

I couldn’t go outside cause there was a lockdown in Lagos. The song is exactly how I was feeling at the time. I thought “what would happen after I fall out with someone I care about. How do we fix it?” The song was birth from those emotions.

“Birthday Song”

I was partying in Lagos about 2 years ago and then 50 cent’s song from almost a decade ago, “In Da Club” came on. I watched how people were receiving the record and I just realised that we don’t have an actual birthday song by any African artist that’s current at the time and I felt the need to share that energy with my fans. The idea of getting VVIP involved was really because I wanted to extend the vibe to Ghana. I wanted to include the Ghanaian experience in the song so it’s not just a Nigerian thing.

“Bossy”

Man Kida is my bro for life now cause his energy is so pure. I hit him up on Instagram, ’cause I love what he does. So I hit him up like “yo I’m a fan,” and we were both fanning each other and before you know it, I told him I have a song I’m working on and I thought he’d kill it so we did a FaceTime and I played it for him and he was excited about it and the excitement made me tell him I’d take my 2nd verse off and he can hop on it. So I sent him the beat and he sent back his verse almost immediately. Man just easy vibes. That’s my bro. There are some certain people you just connect with and for me, collaborations are about connecting with the artist.

When Kida sent me his verse back, I had this idea for making the song feel visual, and the idea of having a Cuppy conversation at the beginning and end of the record was how I felt I could add that special touch I needed to do it. It’s a beautiful thing when you bring unorthodox people together and it works.”

“Chop and Pray”

For this one, I wanted to make a super super sexy record. And the sound makes you want to like it’s whine your waist. The conversation is dirty but still classy at the same time. I wanted women to feel good listening to this song. The conversation is just really being submissive; like it’s in your bed that I chop and pray. And it’s a fusion of pidgin English with more alternative lyrics in the style.

I want the song to be sexy for the dance floor. I want the song to come on and people would get into trouble. Like if you’re dancing with someone you don’t like, you’re in trouble. You gotta be dancing with someone that you really really like [before] you can really enjoy this one.

Featured Image Credits: Instagram/thisiswurld
[mc4wp_form id=”26074″]

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: WurlD’s NATIVE Exclusive highlights how the singer is here to inspire

Presenting the official trailer for “The Satchel”

Posted on by The Native

As a young millennial Nigerian, everything I know about religion is through the lens of Christianity, which is mostly a direct consequence of colonialism, which almost successfully wiped out our African traditional religions. Even though we’ve now gained independence, most people still tend to demonise African traditions or have no knowledge about them. While we can see that the Western celebrate their roman and greek mythos by spreading the legends of Zeus, Poseidon and the likes, Ifa and other African deities rarely get recognised for their many heroic exploits.

 

View this post on Instagram

 

A post shared by The Satchel (@thesatchel2020)


Fortunately, Creele Animation Studios is set to change that with their debut production, “The Satchel”, a 3D animated movie adapted from the Yoruba historical myths of the earth’s creation. The trailer hints at an action-packed drama as we see the children of Olodumare (the supreme ruler), Obatala and Oduduwa locked in a fierce battle for who gets to use the all-powerful Satchel to create a new kingdom. We also catch Odudua and his queen sharing a romantic moment that suggests a wholesome narration of the historic Yoruba folklore.

The studio had this to say when they spoke with NATIVE; “At Creele, we are focused on portraying the creative brilliance of Africa by telling authentic and inclusive stories of our people and culture, primarily using animated motion pictures with sounds of the best quality, innovatively and uniquely for families around the world. Our sights are set on showcasing a new kind of creative innovation in the entertainment industry, as well as across the technological and social spaces. We hope to capture the ears, eyes and hearts of all people, delivering a truly “Creele” experience.”

Created by Taeps Animation Studios and Creele Animation Studios, “The Satchel” was directed by Nissi Ogulu and written by Jimi Oremule while Adeoyin Okuboyejo and Ayobami Bello join the crew of producers. The 3D art will encourage the younger generation to see and appreciate their African traditions as the film intends to portray the beauty of African culture, lifestyle and music in the concept, character designs, scenes, visual screenplay, art and music direction. However, with the rich African themes, it is suitable for all age groups as it draws a strong connection to home.

You can watch the trailer for “The Satchel” below.

Featured Image Credits: YouTube/The Satchel
[mc4wp_form id=”26074″]

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: How Nollywood film, “Who’s The Boss” is representing the mordern Nigerian woman

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.

 

View this post on Instagram

 

A post shared by Fountain Baby (@amaarae)

‘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.

 

View this post on Instagram

 

A post shared by Hayley Mulenda (@hayleymulenda)

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!

 

View this post on Instagram

 

A post shared by ca$h mum. (@ladydonli)

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’.

 

View this post on Instagram

 

A post shared by Omah Lay (@omah_lay)


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
[mc4wp_form id=”26074″]

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.

 

View this post on Instagram

 

A post shared by Basketmouth (@basketmouth)

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