Photo Essay: The Homegrown Project Tracks How Streetwear Brands Are Moving Fashion Forward in Nigeria

Posted on by Arshavin Ephraim

Nigerian fashion never fails to make a statement. From traditional attire to streetwear, Nigerian brands have consistently produced impressive pieces that have helped establish the country’s reputation as an African style capital over the past decade. And of all the different types of clothing the country produces, streetwear is, undoubtedly, at the heart of Nigeria’s fashion explosion. 

As homegrown brands sit at the forefront of fostering a vibrant fashion community across Africa, Nigerian brands have become renowned for their creativity and innovation, boasting celebrated designers such as Mai Atafo, Deola Sagoe, Banke Kuku, Kenneth Ize, Mowalola, and Andrea Iyamah. And with the global spotlight currently being shone on Nigerian music, we are suitably positioned as a leading cultivator of a robust creative community in Africa, with fashion leading the charge. Nigeria’s fashion industry is dynamic, diverse, and constantly evolving, thanks to a rich cultural heritage that serves as a source of inspiration for designers and creatives. Nigerian designers’ entrepreneurial spirit and resilience also contribute to the vibrancy of the fashion industry, and the increasing recognition of Nigerian designers at both domestic and international levels. 

Still, it’s community building that lies at the heart of Nigeria’s streetwear brands, effectively setting them up to thrive on the global scene.  Brands like Severe Nature, WWYD, Ashluxe, Pith Africa, Legacy, Daltimore, Forever Earth, Casimir Hero and several others exemplify this communal ethos, and the work they’ve done to build communities that encourage individuality and freedom of expression, is quietly shaping the narrative of streetwear fashion in the country. 

The evolution of streetwear fashion in Nigeria can  be traced back to the inception of Severe Nature. Created by Christopher Afolabi, Tobi Adeleye, and the late Michael Atobalele in 2012 with a vision to push the boundaries of street luxury fashion, they have stayed true to the core values of creativity, authenticity, and self-expression. Severe Nature takes personality, form, and nature to an extreme while blurring the boundaries of streetwear with the constant use of mixed fabrics and experimental clothing to stand out from other similar brands. The homegrown fashion brand has gone on to inspire and lead a plethora of burgeoning fashion brands across the country with a strong foothold across the continent. 

Severe Nature’s success has not come without challenges, though. “One of the significant obstacles has been the lack of infrastructure to support production on the continent,” Afolabi admits. “For a brand that emphasizes quality, we had to come up with creative ways to find sustainable methods of producing our products. The fashion industry’s competitive landscape, both locally and internationally, necessitates constant innovation while maintaining quality.”

Those issues have not impeded the growth of the industry. Streetwear fashion in Nigeria surged beyond the shores of the continent in a giant leap thanks to the groundbreaking work of Ashluxe. Founded by Creative Director Yinka Ash, the homegrown brand oozes luxury, elegance, and style and has successfully built an engaged community and recorded highlights like a showcase at Paris Fashion Week in 2023. “I am hyper-focused on the quality of clothes,” Yinka Ash admits. “Before the creation of Ashluxe it was difficult to get good quality ready-to-wear menswear in Nigeria.  I decided to solve that problem, by creating a fashion brand whose primary focus is an offering of good quality menswear with a streetwear aesthetic.”

One can also tie the rapidly growing streetwear community in Nigeria to the daring gusto of young Nigerian creatives like Ayanfe Olarinde, founder and team lead of WWYD. Inspired by her ongoing artistic research project that seeks to dismantle toxic masculinity, WWYD, an abbreviation for ‘What Would You Do?’ has emerged as a gender-fluid, community-driven brand that promotes inclusivity and freedom of expression regardless of race, gender, or body type. A haven for free thinkers, nonconformists, and go-getters to express themselves, WWYD promotes a nonjudgmental style that is committed to reshaping the notion that colorful fashion is gendered. 

Fashion stylist and art director for the Homegrown Project, a Nigerian fashion archival group, Senami Maugbe applauds the commitment of Nigerian streetwear brands to individual style, community inclusivity, and innovation.“I love the gender fluidity and vibrancy WWYD brings to streetwear fashion,” she says. “When brands exclude the restrictions to colors and patterns traditionally meant for specific genders, it creates the ideal ambiance for individual styles to flourish.”

Young Nigerian creatives – in their quest to live authentic, creative, and expressive lives amidst the restrictions caused by the economy and absence of infrastructure that enables creatives to flourish – are constantly pushing boundaries through alternative, innovative practices; fashion sustainability efforts; and inclusive, community-led events. Notably, the Ireti Zacheus-owned platform, Street Souk, continues to create an atmosphere for homegrown streetwear and fashion brands to network, collaborate, and exchange knowledge; bringing together designers, retailers, influencers, and consumers, fostering collaboration over competition.

Nigerian street fashion brands also host a series of events and activations throughout the year that actively engage their communities. These events create opportunities for brand exposure and market expansion, promoting inclusivity and showcasing the diversity within the Nigerian fashion community. They display a wide range of styles and aesthetics, which is great for the industry’s growth. “Every brand included in this project shares a common trait: they cultivate a sense of community,” Ayorinde Olabamiji, model and fashion curator of the Homegrown Project, says. “Through pop-ups, parties, and various other events, they create an environment where individuals feel part of something larger. This sense of belonging is crucial for advancing streetwear culture.”

Additionally, innovative tech-based platforms such as Garmspot.com offer e-commerce solutions for indigenous brands seeking retail channels to help them reach wider audiences in Africa and beyond. By fostering meaningful interactions and partnerships, these channels help to strengthen the fabric of the Nigerian fashion industry and drive it forward.

As African kids who often looked to Western cultures as a yardstick for acceptance, the founders of PITH Africa felt the gap in the expressionism of young Black people in their unique self and style. This moved Cosmas Ojemen, Nez Anazodo, and Adedayo Laketu, who are storytellers at heart, to use fashion as a tool not only for expression but for documenting history, building communities, and creating a new paradigm for young people to feel free in self-understanding and their skin. The satisfaction that comes from being dressed in ourselves and feeling part of our growing pop culture is unmatched, “We’ve always been obsessed with Virgil Abloh for his design principles and ideas,” Ojemen says. “He really helped us defy certain boundaries that the global fashion industry has placed on “Black people.” He made us believe that we can create something on a taste level that matches the global state of fashion but from the view of a Black African man.”

Homegrown brands in Nigeria largely draw a unifying motivation from Abloh, the late and legendary fashion designer. His ideas, drive, and love for community have inspired brands like Forever Earth, which has taken community building up a notch with the introduction of FET radio, which encompasses parties, podcasts, and concerts. 

For Casimir Hero, Abloh’s background and relentless efforts to break barriers as a fashionable Black man were all that was needed to fuel his vision to launch his own brand, which saw him morph hand-painted denim into bespoke beanies, biker jackets, signature tees, and lots more. 

The beauty of homegrown brands goes beyond clothing. With, Legacy, founder and creative director Adesuwa is exploring Nigerian and Thai cultures to craft unique jewelry, bags, and shoes that promote love, self-confidence, and unity among cultures. She seeks to bridge the gap between distant cultures through her pieces, which have been worn by the likes of Asake, Victony, and BNXN, among other Nigerian musicians. 

Nigerian homegrown brands collectively share a desire to express themselves through fashion and style, and it is no different for the Daltimore Brand. Owned by David Daltimore, his drive is fueled by merging cultural ideas with modern styles to create unique streetwear fashion pieces. 

The Nigerian streetwear community has seen several cross-community collaborations through pop-ups, raves, and fusions of art and style. It is also exciting to see brands emerging with a greater emphasis on sustainability and ethical practices within the Nigerian streetwear community, as designers and consumers alike are becoming more aware of their environmental impact, leading to a more eco-friendly fashion culture throughout the country. 

Despite the glaring challenges of sourcing quality materials at affordable prices, maintaining consistent production standards, bureaucratic red tape, and a lack of government support for creative industries, Nigerian designers and entrepreneurs are optimistic that the Nigerian streetwear community will continue to evolve over the next few years. “We are committed to sustainability and ethical practices, seeking to minimize our environmental footprint and make a positive impact on the communities we serve,” Afolabi says. “Through innovation, collaboration, and a relentless pursuit of excellence, we aspire to elevate Severe Nature to new heights of success and influence in the global fashion landscape.”

Credits:
Photography: Laura Osare and Daniel Uwaga
Model and curator: Ayorinde Olabamiji
Art direction and styling: Senami Maugbe
Wardrobe: Ashluxe, WWYD, PITH, Casimir Hero, Severe Nature, Legacy, Forever Earth, and Daltimore

Jägermeister and Santa Cruz Skateboards Launch Limited Edition Decks and Apparel

Posted on by Tayo Bero

Premium herbal liqueur brand Jägermeister, is partnering with iconic US label Santa Cruz, to launch a limited three-piece skateboard and fashion capsule collection. The centrepiece of the collaboration is the re-issue of the “Kendall Deck,” a 1990s-designed cult skateboard which Jeff Kendall, CEO of Santa Cruz and legendary American skateboarder, designed out of love for Jägermeister.

“With these limited-edition pieces, we want to inspire both fashion and skate enthusiasts alike,” says Sven Schindler, Head of Global Brand & Digital Marketing at Mast-Jägermeister SE. 

Following the launch of the limited-edition pieces, Jägermeister is extending its campaign to skateboarding communities in other countries, including Nigeria. The brand is making plans to celebrate the youthful defiance and authenticity of the skateboarding community through branded merchandise and a skateboarding competition where top local skaters can showcase their skills. Winners of the competition stand a chance to win the exclusive skateboard and fashion pieces, amongst other prizes.

“Freedom, authenticity, tradition – and a dash of rebellion. Those are the values that unite our brands and skateboarding,” says Jeff Kendall, CEO Santa Cruz Skateboards. Originally one of Santa Cruz Skateboards’ most successful designs, the nostalgic retro design of the Kendall Deck board features Jägermeister’s symbolic deer.

The new limited pieces collection will be available starting from June 20, 2024, in selected Jägermeister online shops and directly at Santa Cruz.

Underlining both brands’ commitment to pushing boundaries and fostering a spirit of bold creativity and authenticity, the Jägermeister x Santa Cruz partnership is showcasing pieces that not only honour the past, but also inspire future generations of skaters and fashion enthusiasts. 

Review: ‘Born In The Wild’ by Tems

Tems’ story is one many would agree was written in the stars. Not just for how seamlessly she forged a path to global stardom, but also how she seemed to arrive long before she got started. Only in stories like hers do words like “destiny” or “fate” arise to describe a trajectory so against the grain yet so inevitable, many struggle to register the colossal shift till it is much too late. 

And as the world sat in eager anticipation for the glorious album debut from the R&B singer-producer, a slew of unbelievers rose to the surface to stir the pot around Tems’ talent or, according to them, lack thereof.  Even though it would be easier to dismiss all sceptics as trolls, a more candid resolution lies in the reality that not many parallels – if any at all – in Nigeria’s music history can be drawn to Temilade Openiyi. Since quitting her corporate job in 2018, per a life-changing message she received from her daily devotion, to deliver one of the most promising R&B debuts of the decade, no amount of doubt can discredit the fact that Tems is currently fulfilling her life’s purpose. 

While the rest of the world first caught wind of the unrivalled force that is Tems via a stellar performance on Wizkid’s “Essence,” back home, she had already scored points as an artist to watch when she audaciously declared herself the leading vibe in 2018’s “Mr Rebel.” Still, it wasn’t until “Try Me” – a striking embodiment of her emotional yet gritty artistry – that Tems slowly began seeping into mainstream listeners’ consciousness, later earning her a small cult following that set her up to invigorate what was then considered popular Nigerian music. Six years, an RCA record deal, two EPs and now a debut album down the line, it’s safe to say that Tems has done just that, and much more. When cataloguing the string of accomplishments under her belt, one might first think of Tems’ role as a peerless collaborator – and understandably so. Recruitments for Beyonce’s ‘RENAISSANCE,’ and Drake’s ‘Certified Lover Boy,’ co-writing duties with Rihanna or even the Grammy-earning “Wait For U,” are accomplishments that would be criminal to glaze over. Still, ask any of the Nigerian women in Tems’ Rebel Gang and they’ll tell you that international stardom isn’t the reason they love Tems; for many, it’s the nuanced way she voices the stories of a generation that often goes unspoken for that truly makes us love her.

Following the titular track of her debut album, ‘Born in the Wild,’ Tems’ mother hops on “Special Baby(Interlude)” to emphasise just how fated her journey has been. Over melancholic piano chords borrowed from the intro, we sit in on an undiluted conversation between mother and daughter, where Tems’ mother highlights just how ordained the superstar’s journey is. “They keep on asking, “why Temi?, why Tems? Don’t they have another person again?/They themselves do not know why, they can’t understand it,” her mother laughs, recollecting the words of naysayers who are perplexed by the force that is Tems and the support she receives. Tems’ mother encourages her to push all the doubt aside, because she was born to do this. Tems’ own sentiments, however, are easily reflected on “Born in the Wild,” the perfect introductory insight into her headspace at the start of her journey, and all the obstacles she had to overcome before getting here. Silky guitar strums reiterate her evidently burdened spirit, casting a light on her need to conquer but by the end of the track, she arrives as assured as her mother singing, “The world…is mine and the time…is now.” 

Dreamily reminiscent of her introduction to the scene, “Burning” delves deeper into both external and self-inflicted pressures, set alight by an unbridled desire to succeed. The track acts as a mirror to her emotions and state of mind, aptly reflected in our 2020 cover story for The NATIVE’s Print Issue 4 where writer, Damilola Animashaun, described her as one who has  “unlocked society’s cage and set herself on fire to light the way for a new vanguard.” Tems was, and still is, the girl on fire. But now more than ever, she is the perfect embodiment of just how far a fiery passion and an introspective approach to life can take you. “Burning” gives Tems the first opportunity on the album – later seen on “Ready” – to communicate just how badly she wants her story to be one of actualised dreams, while snagging production credits with assistance from Ghanaian producer, Guiltybeatz. The pair, whose combined talent is the undeniable backbone of the album’s production, further establish themselves as a dynamic duo after transporting us to the dancefloor with “Wickedest.” The track starts with Magic System’s global crowd pleaser, “1er Gaou” instantly uplifting the atmosphere, shortly followed by groovy basslines reminding us that R&B can have you up on your feet. She holds a composed tone with a sheer effortlessness that alludes to her laser focus on the grind, paired with an unshakeable confidence that her visions, however brazen, will be actualised. 

 

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The beauty of art, especially music, is its reinstative power. From sampling to interpolating, music draws references from the past to inform the stories of the present, intensifying the shared experience of the human race. When done right, we get badass anthems like “Wickedest” or the refreshing, reimagined version of Seyi Sodimu 1997 cult classic of the same name, “Love Me Jeje.” An evocative ode to her roots, Tems turned to one of the country’s greatest canonical love songs to soundtrack the official beginning of the journey to her debut album. Her interpretation was an instant favourite, building ammo for her hit-making abilities and versatility, clearly hinting at an exciting run that has only just begun. Tems is backed by her close-knit team, including her personal stylist and friend, Dunsin Wright, for a playful outro of the track. “Gangsta,” though it takes a rougher, more melancholic approach, doesn’t fall too far behind on the album’s successful reference pulls with its subtle Diana King interpolation. While the original, “L-L-Lies,” chronicles the story of a woman despondently confronting her partner’s infidelity, Tems comes in guns blazing “That’s why, that’s why I need a gangsta, That’s why, that’s why I need a bad one, That’s why, that’s why I need violence.” She clearly states that any attempts to dim her light will never go unnoticed, stressing that her circle only has room for genuine people. 

As the intoxicating Amapiano melodies of “Get it Right” arrive, we’re fully abreast with Tems unrelenting hit-making abilities, spurred on by an experimental approach to her craft; and who better to enlist than seasoned vocalist, Asake and superstar producer, Sarz. Though Mr Money’s enchanting delivery is commendable, instantly making “Get it Right” one of the album’s earworms, he is well within his sonic comfort zone so a solid verse simply was to be expected. It is Tems’ ability to glide over the heart-thumping log drums and dazzling shakers, however, that leaves the track stuck on instant loop. She gracefully rides the wave, boldly expressing her desires for and commitment to her love interest, “All the boys dey on dnd, so you know what you mean to me.” A clear standout already, it helps that Asake comes armed with charming lines like, “You dey do me one kind, shey me I no go die/This your body like coke, too bad, maka why?” 

The album’s tone takes a sharp turn with pensive strums on “Unfortunate,” where she expresses indifference to a love interest that treated her poorly but is trying to re-enter her life. Rather than seeing the unfavourable treatment as a reflection of herself, Tems knows that she’s too young to be hot and bothered, pointing back to the album’s overarching theme of self-empowerment. 

In many ways, Tems has found the sweet spot between being unbothered and having moments of intense fixation that linger in her subconscious. “Boy O Boy” deals with the dissonance that comes with navigating those opposites while seeking resolution on her feelings. Her brain recognises that a love interest is no good for her but her heart is willing to give him another chance. “Hold me in your mind/Before I leave you on the streets,” she finally warns, seemingly deciding to focus on elevating her best self. Where “Boy O Boy” was contemplative, “Forever” is more boisterous as the singer moves assuredly over the magnetic DameDame and GuiltyBeatz-produced instrumental. Her delivery is also loosened in a way that recalls some of the ‘90s most classic post-heartbreak excoriations. Where those songs came from a place of deep-rooted passion, Tems is operating with resolution on “Forever.”

Since coming onto the scene, Tems has been a critical part of an innovative generation that has upended any traditionalist definitions of Afropop, and ‘Born in the Wild’ takes things up another notch, prioritising free flowing self-expression over conformist formulas. The J Cole-featuring “Free Fall” sees her dial in for a candid look at what happens when reality doesn’t match expectations. Tems is not a fan of lingering when she’s not getting what she wants and pointedly states that she’d rather be alone. It sounds like wisdom accumulated from a lifetime’s worth of navigating near-relationships that don’t quite work at the end of it all. 

It was always an ambitious gambit to turn in an 18-song album, and there are moments when the sequencing on ‘Born in the Wild’ can be jarring, perhaps intended as a means to spark some life into the listening experience. There are other points where it feels like two songs were mixed together as one, as it does on “Turn Me Up.” The opening half sees Tems sing-rap about the state of the world and her place in it before settling into a pidgin-accented verse that sees more big-talking from the singer. It all feels like an attempt by Tems to stake her claim as one of her generation’s most well-regarded singers but it lacks the gritty appeal of an old classic like “Try Me” or the emotional lucidity of “Wickedest.” It’s a rare misstep that’s quickly corrected with the pre-released “Me & U.” Part faith hymnal and part love declaration, “Me & U” feels like a salve for tough times that could only have emerged from the deepest reservoirs of Tems’ consciousness as she weaves her personal convictions on love into her adoration for a larger-than-life divine figure that she clearly craves a closer connection to. It all works wonderfully for one of the album’s highlights. 

Long-time listeners of Tems will have long worked out that she’s a fan of Hip-hop with the singer occasionally dipping into the genre for musical inspiration. Over a boom-bap instrumental on “T-Unit,” she pays homage to the genre and her own resilience. “Never surrender/Never afraid,” she tantalisingly raps about her journey. The secret genius of Tems’ music has always been how she uses her experiences as a map for her listeners looking to find themselves; it’s a task she takes quite seriously as evinced by the closing stretch of “T-Unit” where she breathlessly sings, “Throw your hands up, let me hear you say, ‘Victory until the death of me,’” as though delivering battle-time motivation to her weary troops. 

Album closer, “Hold On” is similarly an admonishment. Anyone even faintly familiar with Tems’ story knows about her quitting her job at a digital marketing to start an improbable career in music. It’s been a whirlwind six years since her debut song came out and she’s now using her journey to urge her audience to hold on to their dreams however hard that may be. Perseverance is a theme that’s constantly returned to across Tems’ debut. “Do it crying, but fucking do it,” one of her managers admonishes her on “Voices In My Head (Interlude).” It’s what Tems has been doing since she sang her heart out all those years ago on “Mr Rebel.” Now, it’s time to recount the cost of her swashbuckling journey. With ‘Born In The World,’ Tems opens up a portal to her soul; tracking a meteoric rise to global superstardom, her triumphs over self-doubt and a complex journey to accepting, and as she does that, this is her moment.  

[Featured Image Credits/The NATIVE]

Words by Nwanneamaka Igwe and Wale Oloworekende

ICYMI: REVIEW: ‘THE YEAR I TURNED 21’ BY AYRA STARR

Identify: Saràh Phenom is soundtracking the youth experience with exuberance

Posted on by Nwanneamaka Igwe

As a new wave of hitmakers make their way to the mainstage, Afropop’s freshest faces are only getting younger, armed with refreshing perspectives and exciting recipes. Spurred on by the likes of Mavin Pop princess, Ayra Starr, and South African megastar, Tyla, this new generation boasts a robust catalogue of African music stars, serving as a reminder that it’s never too early to start. And with this, the foundation is set for the likes of Saràh Phenom to arrive with an admirably receptive attitude and world of cultural experiences, eager to explore the various facets of her identity and her artistry. 

The Rwandan-born and UK-based artist describes her sound as a “melting pot,” adding: “I want Black women to not feel boxed in. You can be so many different things, we have so many layers to us. In my case, for example, I’m not only the Black girl that’s gonna make R&B. I can also make Pop.  I could also be edgy tomorrow and the day after I could make classical music. We can be so many different things and I want to be able to show that.”  

For her debut solo performance, “10%,” she leans into her Pop side, backed by reverberating basslines to soundtrack the chaos of young love, typically characterised by toxic back and forths and non-committal attitudes that ultimately result in hurt feelings. 

Following the single’s release, we caught up with Saràh Phenom to discuss her creative process and moments leading up to the release, with inside information on her upcoming debut EP. 

 

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Our Conversation, which follows below, has been lightly edited for clarity

NATIVE: When did you first realise that you wanted to be a musician?

Saràh Phenom: I always knew I wanted to be a musician. Every single time I had the opportunity to turn on Trace TV, I would. My grandpa used to be a huge fan of classical and Latin music as well. So every time I heard music, I’d think, ‘this is what I want to do with my life.’ Apparently, I told my mom when I was three that I wanted to become like Janet Jackson.

Wow, all the way back then?

I always knew, I was just scared. It’s a scary thing to say, especially if you live in Africa. They want you to say you want to become a doctor or something similar.

So when did you move past that fear and decide that this is something that you actually wanted to pursue?

I don’t even know if I’m over that fear. I tweeted the other day that I went to Koko and while I was outside, this person said “I really love your song.” Mind you, in my head, I’ve been an artist for two days since I dropped “10%” right? She’s like “It really inspired me. I’m going through something” and in my head, I was like, “What are you talking about what song?” and then I realised that she was talking about “10%” and I finally said thank you! There was a disconnect. I wasn’t aware that there are real-life people actually receiving the music. That made me feel amazing because [the music] transcends and that, to me, was beautiful. So right now, I’m in the process of getting up here and accepting that I’m an artist. It’s so scary to even say but people’s validation really does make your art worthy. 

It sounds like meeting that fan was very meaningful. 

That was a really big thing because it wasn’t because of anybody else. Before it used to be because of my affiliations or what I look like, anything but the art but that moment was purely because of something that I put out. I’m still indie even though I had a distribution deal, so I started working on this song alone. It felt like wow, you saw me and you got the message and it transcended to you. So to me, it doesn’t even matter if it’s a person with notoriety or not. It was the person who took the time and courage to talk to me, and tell me that she appreciated it. That was a very significant moment for me.  I’ve opened up for other acts before and people do tell you that they like what you’re doing. It’s amazing and it makes it feel worthwhile.

You grew up in Rwanda, and currently live in London. How has experiencing both cultures impacted your work as an artist?

I think it’s funny, it’s not only impacted my work as an artist but as a human being. I understand different cultures to the next level. I understand that if someone reacts or talks in a certain way, it’s because of where they’re from. That’s very hard to understand if you’re not from a certain place. When I grew up in Rwanda, I ended up going to a Belgian school in an English-speaking country. I went to an international school as well where they spoke Kinyarwanda, their national language, and English. That’s how we learned English, plus what we saw on TV. So I grew up around a lot of people and that opened up my mind to not only music but aesthetics. Aesthetics are such a big thing that people don’t put enough emphasis on. That’s definitely something that I understood, how people in Europe dressed differently from the people in the UK or America. That helped open up my mind to all sorts of things. And in my music, when you guys discover my EP later on you’re gonna see how much it impacted me because most of my collaborators are Nigerians and Ghanaians. Every culture that has impacted my life, can be found on the EP. It’s a bit eclectic but it’s fun. It’s 100% Sarah. There’s a song that just sounds like EDM-leaning, another’s Amapiano etc. It’s a fun melting pot of who I am. 

You described the EP as a reflection of accumulated experiences. Did you draw from any specific ones?

On the project, it’s like I’m taking you on a journey, from being a girl to a woman. Because I feel like women in general, we’re different, but all the same. Whether you’re a nurse or a PhD student, we all go home and talk to our girls about the same things. The reason I wanted to talk about that is because I didn’t grow up too close to my family. My friends were my family. It’s always from a perspective of “Okay, this disappointed me” or “This brought me joy,” or “ I don’t know, I’m scared.” I don’t want to give away too much but it talks about my disappointments and the growth I experienced through that. I also talk about finding love and different eras I had which I think a lot of women can relate to.

What was the initial inspiration behind your new single “10%”?

I had a situationship. He put me in a situation where a choice had to be made between me and another girl. Then it clicked to me that I’m not one to chase. It’s either you give 100% or nothing. I’m not gonna be in the middle and be the other girl. You’re wasting my time. So “10%” was me recouping my time. But then, I also understand that in situations like that, both parties have not been able to communicate because there are always two sets of stories.  I feel like men speak a language that women don’t understand and there’s always a big barrier in the middle. That’s why in the visuals, there’s a big separation between the two of us. There’s his reality and then at the end, there’s kind of like this resolution. I think the lyrics go:

Sarah, why don’t you hear my side/ when I’m searching through the weeds/ and I’m trying to find the right one

I know that we got soul ties/ but I’m try to keep it P/ and I gotta find the right one

Maybe one day we’ll both try/ and I’ll find out then/ that you really was the right one/ 

till then/ I’ll just live my life/ but you really is the right one.

And we’re saying that together because we’re both gonna end up in a situation but he’s gonna figure out that he made the wrong choice. Eventually, we’re gonna be at peace and I’m just gonna carry on living my life. It’s exploring the lack of communication between two human beings and there being two sides to the story. 

The music video was very striking. How did you first decide on its visual identity?

I’m a person that writes in journals and surfs Pinterest a lot. I find a lot of inspiration from those places. I love colours as well as old Japanese or Asian movies or photographers that play around with colours. I found this amazing photographer Cho Gi-Seok, I’m absolutely in love with all his work. 

Are there any visual artists that have influenced you?

David Lachapelle is incredible. I like fantastic worlds. I like people that bring hope to the world. I also like things that are bright. Even though my video is very dark you can still see blue, which I feel is a hopeful colour. I just like colourful things and I love fashion so it all comes together. 

Speaking of fashion, how did you approach finding the style for the video?

I got a stylist and a lot of our inspiration came from my time in Belgium, one of the biggest fashion capitals. There’s something called the Antwerp Six. You have Raf Simmons and all these big designers that became huge. You don’t really see it in the video, but my obsession for fashion came from there. When it came to doing silhouettes for a woman, I remembered I had seen one at the Academy of Fashion when I used to model for them. I wanted something similar to that so I told my stylists, El-Shaadi [Nyagodzi] and Kevin [Lacey]. They made it happen. I wanted something that could gain attention and be dramatic while still being simple. 

Is there one piece of advice that you’ve gotten that’s been invaluable to you as an artist? 

My sister once told me “Make a plan and stick to it.” That’s how I moved out and came to the UK in the most chaotic way.  I think I came here with like £200 with a plan to make music. My plan has always been to make music, I just didn’t know how. I think one piece of advice I would give, is to give yourself the tools to do what you want to do. If you really want to be a dentist, don’t go to school to be an engineer. I also met James Fauntleroy [American singer-songwriter & producer] a few weeks ago and he just gave me the advice to just do it. He told me that in the beginning, people used to ask him if he knew how to write songs. He didn’t but he would just say yeah and that’s how he became who he is, he gave himself the tools to succeed.

So where there’s a will there’s a way.

100%. Even for this video, I remember telling my team I wanted to do choreography. They were like, “Can you dance?” I’m like, “Yeah I can!” I can’t dance for anything, by the way, I have two left feet. The African in me left the chat for that one. I only had two rehearsals because we were shooting back-to-back videos, and I did it. I learned that in a day. You have to be up for a lot of things. I think it depends on what kind of artist you want to be. In my case, I’ve always said that if I wanted to do it then I want to do it fully. No shyness. 

What do you want people to take away from your music? 

Freedom in the sense of expression. I wouldn’t say I do it for Black women [only], but I want Black women to not feel boxed in. You can be so many different things, we have so many layers to us. In my case, for example, I’m not only the Black girl that’s gonna make R&B. I can also make Pop.  I could also be edgy tomorrow and the day after I could make classical music. We can be so many different things and I want to be able to show that. I want to be able to show the freedom and the range that we have. I want to be able to work with as many Black writers and artists as I can. That’s what I want to push. I don’t want to say Afrofuturism because it’s been overused but that is really the future of everything. We need to start opening up our minds to different types of music. So I want people to take freedom from what I’m doing and how I’m expressing myself. 

Is there a specific artist you want to collaborate with in the future? 

I think there’s too many. I have a list and monthly I post them on Twitter. Some people get it, some people are like, “what are you doing?” I also really believe in prayer and manifestation so I just put it out there. But I really like Baby Keem, I think he’s really cool. I like James Blake. I wish Britney Spears was from this era because I think she’s so cool. Right now, I really like Bloody Civilian. Kanye West would also make sense. Gunna, I think people were sleeping on him, now people are waking up. He’s so lyrically and melodically gifted. Don Toliver as well. I think Rosalia, SZA and Summer Walker are incredible. And Rihanna, but that’s in my deepest dreams.

Well you said you have to back yourself, so it could probably happen.

If they say “You have to do this with Rihanna,” I’ll say “Yep!” 

Listen to “10%” here.

[Featured Image Credits/The NATIVE]

Interview by Moore Wright

ICYMI: NOW PLAYING: HEART SONGS BY DOPE SAINT JUDE

Now Playing: Heart Songs, a Playlist by Dope Saint Jude

Posted on by The Native

Dope Saint Jude strives to spread joy through her work.

Nurturing this positivity hasn’t always been easy. The wormhole of endless negative news cycles used to take a heavy toll on her: “I was feeling hopeless and like ‘what’s the point of releasing music, it feels so small compared to other issues,’” she recalls. “I spoke to someone who was an activist in the apartheid days here in South Africa and they told me it’s actually my job to nurture hope.”

Nothing mirrors her innate vibrancy more than her latest single, ‘Happy Day’. Although the track was written in 2022, Dope Saint Jude knew now was the time to release it. With intense global strife at the forefront of our minds, she knew, now more than ever, the world needs infectious positive energy. Happy Day serves as an ode to confidence, with affirmative lyrics such as “the only one in charge is me.” Its inspiring message and invigorating instrumental makes it one to listen to especially during dark times.

Speaking on how she wants her audience to feel when listening to her music, Dope Saint Jude says:

“I want them to feel good. I want them to feel uplifted and ready to start the day. That’s because I primarily listen to music in the mornings, when I’m getting ready I try to listen to music that’s gonna hype me up for the day and I hope that I can make music that serves that purpose for other people”

If fans want to start the day the way Saint Jude intended, they can use her playlist ‘Heart Songs’ for their early morning setlist. The tracks range from stimulating to soulful, making it an ideal playlist to wake up to.

Stream ‘Heart Songs,’ a playlist by Dope Saint Jude.

uNder: Best New Artists (May 2024)

Posted on by The Native

With each passing year, African music grows further in global preeminence, with its stars racking up placements on the biggest stages, and emerging as main characters at the biggest award shows and festivals. Back home, there has been an upsurge in the demand for more zest and ingenuity within the African soundscape. 

At NATIVE, we are constantly exploring avenues to platform the plethora of emerging talent across the continent. uNder live – a live showcase of emerging talents – is one of such channels powered by NATIVE with the intent of providing a home for music enthusiasts to partake in the rise of next generation of superstars, and a hotbed for emerging artists across different genres to hone their artistry and connect with their audience, at home and at large. Take a look at the last edition of uNder Live, here. 

For this month’s uNder, we’re spotlighting some of the most promising talent from across the continent who embody the cadence of the streets, and have become the cradle of novelty within continental music. These artists are breathing new life into the music scene and providing a much needed revitalisation of our creative ecosystems.

AYO MAFF

For fans of: Bella Shmurda, Mohbad and Seyi Vibez

Bariga is still one of street-pop’s most important locales. The lived experiences of its residents continue to inspire some of the most heartbreakingly cathartic music coming out of Lagos as it did when YBNL head, Olamide, broke out of there over a decade ago. In the time since Olamide’s rise, street-pop has evolved as an art form, gaining an emotional core and textural range that is indicative of the sub-genre’s maturity, and the deep pool of talent it’s blessed with. Hailing from Bariga, newcomer Ayo Maff, is a key part of that evolution, distilling his angst, joy, anger, and confusion into songs that place him in the lineage of street-pop’s greatest storytellers. 

Born Mafoluku Ayorinde Ayodele, the singer draws on his experience on the streets and what lessons he took from them in his candid songs. His first official release, “Saturday Night,” from May 2023, was an Amapiano-influenced glimpse into the things–money, street cred, and being hip – that motivate him. It’s delivered in a syrupy drawl that gives the song an out-of-body perspective as he recounts his days of being counted out. His next song, “Journey,” is a continuation of that theme with a more pointed reflection on balancing his musical dreams with the cost of maintaining daily sustenance. 

Ayo Maff really started to pop onto mainstream radars with his 2023 two-pack release, “Jama Jama/ Another Day.” Where Olamide employed hard-hitting bars to send his message all those years ago, Ayo Maff is a wide-eyed singer referencing Frank Ocean on “Jama Jama,” a hymnal on his daily struggles. Still, it’s not all bleak as the singer crafts a dancefloor summons with “Another Day,” deftly interpolating Mr Eazi’s “Bankulize” on the quintessential hood love anthem. 

Earlier in 2024, the singer had a definitive breakthrough with the release of another two-pack release, “STREET ANTHEM/ 7 Days,” that’s a sharp-eyed deconstruction of hood politics and the constant police harassment that’s still a fixture in lower-income societies across Nigeria. “STREET ANTHEM” opens with the singer earnestly singing, “EFCC leave my brothers, we’re not scammers o.” It’s a line that anyone who has dealt with the violent, overbearing nature of the Nigerian Police Force can instantly relate to. Still, the most stirring moments come on “7 Days,” a pseudo-dedication to Ojo, a hood brother who died shortly after a stint in police custody. There’s unfiltered pain in how Ayo Maff beautifies the memory of Ojo and links it to his burning desire to work his way out of Bariga but there’s a lingering sadness at how his success will inevitably put some distance between himself and the community he grew up in. 

Further success has come for Ayo Maff following a series of co-signs and a collaboration with Fireboy DML, “Dealer,” that explores how both singers seek escapism when overwhelmed with the weight of the world. Next to the YBNL singer, Ayo Maff is calm and assured; it all hints at the arrival of a new king from Bariga. – W.O

KAESTYLE

For fans of: Omah Lay and Victony 

Kaestyle has an unwavering dedication to excellence that is clear in how he approaches music-making. The mood, lyrics, and composition of his music are all synchronised to maximise his exploration of  whatever emotion he’s working through with auteur-like precision. There’s an almost-obsessive fixation on getting all elements right that comes from his background as a producer. Born and raised in Port Harcourt, Kaestyle channels the genre agnosticism of the popular southern Nigerian city, borrowing from Cloud Rap, R&B, and Soul to create music.  He was discovered when an A&R visited Port Harcourt to scout talent, leading to him inking a deal with Lagos-based record label, KeyQaad. 

In 2022, he put out his official debut, “True Love,” with Victony, to explore the pleasures of a blissful romance over a percussive instrumental. It was soon followed by “Moving Mad,” a true arrival for the singer that served as a lodestar for his 2022 debut project, ‘Kae’s Study.’ The six-track extended play is meditative and relaxing as he explores toxic masculinity, growth, and love. The project opener, “Better,” is a wholesome declaration of romantic intent that interpolates 2Face’s “Right Here” off his debut solo album, ‘Face2Face.’ Fellow Port Harcourt-raised star, Omah Lay, joined for an ode to material breakthrough on “Blessings.” 

2023 was a similarly busy year for Kaestyle who opened the year with the Afrobeats-leaning “Soundtrack” before returning to his neo-R&B roots on ‘Asylum,’ a five-track joint project with LeriQ that has more moments of Kaestyle’s dulcet vocals gently riding mid-tempo beats and bringing listeners along for an immersive ride into his world and the motifs that define him. “21” is an artsy dedication to a female interest that the singer is unabashedly attracted to while “YOLO,” built around dense drum loops, details his desire for carefree fun. Keastyle has hit the ground running in 2024;a two-song pack titled “My Dealer” is quickly becoming a fixture of the year. Teaming up with Omah Lay again, Kaestyle is letting the world know how important his weed dealer is to him in the moments where he’s facing uncertainty and heartbreak. The other song on the pack, “Egberi,” is a drill-inspired cut that melds the specificity of the singer’s songwriting with the explosive bounce of the Chicago-pioneered sound. It’s a delicate but vibrant collage that displays Kaestyle’s knack for fusing sounds from all over into a distinct vision. – W.O

NABALAYO

For fans of: Labdi and Janice Iche

Nabalayo’s penchant for experimentation, harboured from a very young age, has taken her from exploring various creative outlets to pioneering her own genre. But before delving into her boundary-pushing music charged predominantly with Jazz sensibilities, the Kenya-born musician sought to gain formal education on her craft, only to be met with pushback from trained ears for refusing to follow the rules. When the classical training route didn’t meet her vision, she hypothesised new ways to shape her sound, with emphasis on the production landscapes she leaned towards. 

All this prompted Nabalayo to start her own genre where she could openly explore complex compositions of East African music that would otherwise be classified as non-traditional. Changanya, according to the genre’s pioneer, is defined by its versatility, evident in the english translation of the Kiswahili word which means “mix.” “[The music is] ethereal, combining light airy vocals with complex African idioms and heavy electronic sounds to give her listeners an experience that is out of this world,” Nabalayo explained, while discussing the making of a modern legacy in an interview with Tangaza Magazine. 

Paying homage to Kenyan Folk music, Nabalayo touches on common themes of hope, love and pain, all the while maintaining the unique essence and qualities she loves about her origins. She also comes armed with the Obakano, an eight-stringed bowl shaped lyre whose soft strums accompany Nabalayo’s messaging. Her official debut in 2020, “Mwana Wa Gorofa” delivers loud, cry-like chants over soft, melodious croons and a slow rhythmic base. With soothing vocals like no other, Nabalayo’s music demonstrates a refreshing perspective to musical storytelling. While the soundscapes are consistently slow-paced and punctuated by slow hums and drawn out chords, Nabalayo easily translates a range of emotions through her warm vocal renditions. From her genre-inspired debut album ‘Changanya’ to ‘Her Garden,’ Nabalayo’s unbridled childlike wonder has allowed her to create genre-fusion sounds that tell stories which capture the diversity of various African landscapes. – N.I

MO$HPIT CINDY

For fans of: Elaine and Rowlene

Mo$hpit Cindy’s R&B gloss over trap-like beats sets her apart from many South African artists. Drawing from relatable experiences and pairing rhythmical beats with candid lyricism, Mo$hpit Cindy’s music is as intentional as it is carefree. The 24-year old Zimbabwean-born singer channels music as an outlet for her authentic and unapologetic nature. 

Based in Johannesburg, the artist earned her stage name after losing her shoes in a mosh pit frenzy during Ricky Rick’s famous Cottonfest Festival in 2019. The following year would see her kick start her music career and forge a work partnership with Johannesburg-based producer, Lee Global. 

So far, Mo$hpit Cindy has notched two EP’s in her catalogue, and toured with acclaimed rapper, Nasty C, but her greatest success is her ability to appeal to different audiences with skittering versatility; often grazing through Hip-Hop, R&B and trap influences and baring her most intrepid thoughts in mellifluous ways. – J.F


[Featured Image Credits/The NATIVE]

Words by Wale Oloworekende, Nwanneamaka Igwe & Jim Falola. 

ICYMI: REVIEW: ‘THE YEAR I TURNED 21’ BY AYRA STARR 

Our First Impressions of Ayra Starr’s ‘The Year I Turned 21’

Posted on by The Native

To say Ayra Starr is having a moment would be an understatement because said moment has lasted over three years now. It feels like just yesterday when the 19-year-old burst onto the scene with a childlike wonder that has now metamorphosed into the self-assured candour of a bonafide superstar. The career growth between her self-titled debut and her critically-acclaimed album, ‘19 & Dangerous’ was inarguably an inimitable moment in Afropop history. But the success of one or two hits didn’t stop Ayra’s dedication to shaping her craft and taking control of the narrative of young African women. She took on the mantle with grace, extending her winning streak to cement herself as one of the most reliable hitmakers from this side. 

Now, ‘The Year I Turned 21’ arrives with pomp and glamour, chronicling the Popstar’s rise to global stardom. The 14-tracker is stacked with humble brags like “Commas” and groovy, yet melancholic storytelling on “Lagos Love Story” or Giveon-assisted “Last Heartbreak Song.” Once a fresh face breaking glass ceilings and inverting the industry’s gender stereotypes with her confident aura, Ayra is now deservedly a main contributor to Afropop’s rich tapestry and she won’t be shying away from the limelight anytime soon. For her highly anticipated sophomore album, the NATIVE team shares our expectations leading up to release, our favourite songs and even the biggest skips. Tap in! 

What were your expectations of Ayra Starr going into this album? 

Tayo:  Ayra is an incredible artist who is very intentional about her craft so I expected amazing vocals and a few bops that would carry us through summer. Judging by the singles she released off the project over the last few months like “Commas” and the snippets we heard off “Goodbye (Warm Up),” I knew this was going to be a project that got people’s attention and one where she would be experimenting with her sound.

Jim: Over the years, Ayra has shown incredible growth and made it clear that she is ready for the big moments, and the big stages. Off the back of her singles, debut EP and debut album,  I expected heavy  R&B themes throughout the album with the occasional Afrobeats song, and Ayra did not disappoint, presenting a sumptuous blend of both worlds. My biggest expectation, however, was extreme confidence in her lyricism, delivery, and melodies, and Ayra delivered without question. On this album, she forcefully and undoubtedly shines through with reckless abandon.

What songs stood out on the first listen? 

Nwanneamaka: It has to be “Lagos Love Story” because Ayra’s mic was ON. Considering I typically lean into the more upbeat numbers for the first listen, I loved this song simply for how crystal her vocals came through. She hit all those notes with so much ease and flair with the groovy production taking the back seat to let her vocals really shine through. Delivery aside, it’s nice to hear a love song chronicling the Lagos experience in a non-toxic way. It’s sweet, innocent even. 

Wale: This feels like an obvious pick but “Goodbye (Warm Up)” felt like a hit once that snippet of Ayra previewing it landed on the internet. It still has that X Factor on first listen and I think it works for me because it feels like an extension of Ayra’s personality. She’s genuinely having fun on this song and it suits the theme of ‘TYIT21’ perfectly and, then, there’s the Asake factor as well. I also liked the GIVEON collab, “Last Heartbreak Song,” because it ties into the narrative of the album of Ayra maturing as a performer and person. 

How well did the guest appearances enhance your first listen? 

Jim: All the guest appearances enhanced the experience of the album within their own pockets. What particularly shines through with the features, though, is Ayra’s ability to let each guest artist revel in their own world, and seamlessly fuse their distinct deliveries with her effervescent melodies, offering fans meticulously refined compositions of their unique artistries.

Daniel B.:  I loved all the features. Every artist brought their own signature style but they all merged so well with Ayra’s sound. Nothing short of amazing from her. 

What song is the biggest skip? 

Israel: “Birds sing of money” is definitely my biggest skip. It’s a wonderful introduction to the album but not one I’m too keen on hearing every time I play the 15-song record.

Moore: If I had to pick one, my biggest skip from the album would have to be “1942.” While the track is touching, it doesn’t quite hit the emotional notes of some of the other more soulful numbers, such as “Last Heartbreak Song.” Its sombre tone also means that it might be one of the last songs to be reached for, if the vibe called for something more upbeat.  

What song is the biggest potential hit? 

Damilola: I can really see “Woman Commando” taking off as a baddie anthem and going triple platinum on girls trips this summer. Twerk-ready beat, karaoke-able lyrics, and a general feel-good vibe, I can’t see any other outcome. 

Nwanneamaka: We LOVE a good collab and as much as there’s huge international names on this project, my pick would have to  “Goodbye(Warm up),” with Asake. The rhythmic instrumentals are so radio-ready but paired with Ayra’s lush vocals, you’re bound to get on your feet within the first few seconds of track. Then Mr Money swoops in with the “Oh baby plea-e ease, Oh baby plea-e ease,” I’m sold! My ears also caught on to those light log drums. I don’t see it being any other song. 

Overall first impressions 

Damilola: I was very touched by this album, and the importance of the storytelling stood out the most to me. We can really hear, feel and sometimes even see the story being told on each song, and she weaves through almost every theme one experiences at the infancy of adulthood seamlessly. Underneath the bops and ballads, we’re hearing a raw confession from a young woman coming of age, accepting of everything she’s experienced and looking forward to learning more lessons as she goes along. She sounds strapped and ready for the rollercoaster ride the rest of adulthood usually is.

Tayo: Overall, I think this was a fantastic sophomore effort from the budding megastar. Listening to this album from top to bottom, you can really hear all the different ways that she’s transformed into the artist and young woman we’ve watched over the years. From ballads about the pain of young romance and the realisation that boundaries are necessary even when you love someone, to her reflections on grief and the ways it can shape a person’s worldview, young people need a voice that speaks for them and Ayra Starr is a more than worthy messenger. 

Deeply resonant themes articulated in her signature relatable style, set against a mix of moving instrumentals and catchy, fun beats? What more could we possibly ask for?

[Featured Image Credits/The NATIVE]

ICYMI: REVIEW: ‘THE YEAR I TURNED 21’ BY AYRA STARR

Review: ‘The Year I Turned 21’ by Ayra Starr

When we first encountered Ayra Starr, she gripped a yellow solo cup and stood amidst a wall of colored stickers, as though she were a clipping in a scrapbook. Her self-titled debut, the ‘Ayra Starr’ EP, unveiled an act as fresh as air, whose ethos was youth-centric without pandering, whose feel was girl-next-door to the core, and whose sound was wistful in a way that we had hardly before heard. With the whimsical romance of “Sare” and the unrelenting yearning of “Memories,” she offered lyrics that carried so much youthful sincerity, one could imagine that she had hand-written them in a sticker-filled journal, sprawled across a tastefully disheveled mattress with her legs crossed in the air. Her debut project may have dropped on the same evening that she was officially announced as Mavin Records’ newest signee, but the masses did not require much convincing. In a single night, a star(r) was born.

Her airtight branding was, in part, the product of over a year spent in Mavin’s artist development academy, but it was also a direct reflection of Ayra’s irresistible allure. Following the success of her 2021 debut, she quickly morphed from local phenomenon into a continental and global flagbearer for Nigerian music. Her debut album, ‘19 & Dangerous,’ cemented her role as a Gen-Z sounding board, with its mega-hit “Bloody Samaritan” marking a shift: Ayra Starr could make soulful bedroom Afropop, and she could make global hits, too. The likes of “Sability,” “Commas,” and “Rush” have hauled her name across borders, the latter securing her a coveted Grammy nomination in this year’s inaugural Best African Music Performance category. Her global reach is clear, as her three-year career has seen her secure features from around the world with Tyla, Kelly Rowland, David Guetta, Morocco’s El Grande Toto, and most recently, Puerto Rican reggaetonero Rauw Alejandro. The artist who was once a girl-next-door has formally evolved into a global brand that cannot be restrained; and this year, she is officially coming of age.

The Year I Turned 21, Ayra Starr’s newest project, seems to chart the artist at a pivotal turning point; one that sees her, literally, come of age, and figuratively, step into a new era of superstardom. “Birds Sing of Money,” the project’s intro, encapsulates this shift, beginning with warbled praises from a Fuji vocalist before Ayra proclaims that she “runs her city” and that “money makes the rain come.” The track presents a marked shift from the ‘19 & Dangerous’ intro “Cast (Gen-Z Anthem),” which opened with an introspective Eartha Kitt quote and encouraged youth liberation. With its emphasis on dominance, “Birds Sing of Money” instead positions Ayra as its focus, proclaiming her power to be limitless.

Its focus on money unintentionally alludes to mounting commentary about Ayra’s pop offerings, and how their seeming emphasis on commercial success creates a stark contrast with the thoughtful musings that defined her in her debut EP. “Birds Sing of Money,” however, seems to provide a response to this sentiment: her sonic evolution is a testament to her unending starpower, and as such it cannot be stopped. In her own words, “I don’t watch my tone / because I like how it sounds.” While the song is not as strong sonically as its predecessor on her first album, it appropriately primes audiences for the slant of this project.

Tracks like “Woman Commando” reflect the balance between the commercial and this strategic usage of “starpower.” With pulsing Amapiano production from Grammy-nominated producer Ragee, and lyricism about popping Hennessy at tables, the track is nothing if not club-ready. However, Ayra weaponizes this digestibility to “feminize” Afropop. The club night in question is a “ladies’ night,” and Ayra rounds up a collection of her “woman commandos” in the form of Brazilian megastar Anitta and R&B sweetheart Coco Jones. Calling these global acts to her world – Coco adapting to Afrobeats with such ease that it nearly calls her identity into question – the track creates an argument about cross-continental connection while placing womanhood at its thematic center.

The pre-released “Bad Vibes,” combining sultry verses with a crowd-backed chorus and an assist from Seyi Vibez, skillfully rides the demarcation between the widely consumable and the authentic Ayra. “Goodbye” with Asake recruits yet another national treasure of Nigerian streep-pop, and Mr. Money meets Ayra in her sonic comfort zone in an expertly produced track about ditching an ex-flame. While the track almost begs for a more fitting feature to amplify Ayra’s smooth offering, Asake does his best on what will undoubtedly be a standout hit from the project. Even amidst a competitive set of commercial tracks from the project, “Jazzy’s Song” takes the lead. Ayra pays homage to label boss Don Jazzy by interpolating the intro of Wande Coal’s “You Bad” – which was masterminded by Jazzy himself – in her song’s chorus. With “Jazzy’s Song,” Ayra presents a club banger and a summer song all in one, and in the same breath links contemporary Nigerian pop with its foundational past. Even with only half of 2024 gone, one does not need to be a prophet to imagine a future in which “Jazzy’s Song” becomes a solid contender for song of the year. 

With plenty of reflective offerings, the project also quells critics’ fears about Ayra becoming lost to the mainstream. “Lagos Love Story” takes a leaf out “Beggie Beggie”s book, beautifully conveying the mundanities of young Nigerian romance. Her paramours take a sour turn with “Last Heartbreak Song,” where she croons longingly about unrequited love over Afro-R&B production from her longtime collaborator Louddaaa. American R&B act, Giveon, smoothly coats the second verse in his rich baritone, making Ayra two for two where her American features are concerned.

“1942,” a haunting number underpinned by an emotive guitar, sees her lament the loss of dwindling youth. Ayra declares that “this moment makes it all worth it/all the time we put into the job,” and her journey as a girl crossing over into adulthood seems to parallel directly with her growth as an artist who is blooming in real time. The track also features her brother Milar, a close collaborator from Ayra’s youth whose songwriting featured on ‘19 & Dangerous’. While his vocals on “1942” offer little to the song, his presence provides an added sense of intimacy to the story that Ayra tells. The song is something like a final message to herself before she crosses over into superstardom, almost implying that once she steps into the new, she might have to bid farewell to her old self forever. 

Rounding off the project, “The Kids Are Alright” tackles Ayra’s career from a deeply personal lens. Including audio from her, her mother, and her siblings, Ayra dedicates the entire song to her late father, to whom she cries out, “Hope you can see what I turned into/hope I’m out here making you proud.” While thematically, it sits in stark contrast with the rest of the songs on the album, “The Kids are All Right” provides critical context about just who the Ayra Starr journey is for. It is not one that she embarks upon blindly, seeking fame for fame’s sake. It is instead a quest that the artist engages in with intentionality, wholly aware that she has a lineage behind her and below her, lifting her up.

‘The Year I Turned 21’ is an exploration in equilibrium, one that aims to prove the unstoppable dominance of Ayra Starr, the phenomenon across sounds, demographics, and continents. With less sonic cohesion than her tight-knit debut album, the project is in part a testament to growing pains. But with hit tracks a-plenty across all sides of the sonic spectrum, ‘The Year I Turned 21’ renders indisputable the limitless nature of Ayra’s capabilities. She has, after all, been a gem from the onset, one so clearly destined for global prominence that stardom practically oozes from all that she touches. With this sophomore project, she makes a case for multiplicity, for sonic mastery, and for global domination, and she emerges victorious.

[Featured Image Credits/The NATIVE]

ICYMI: OUR FIRST IMPRESSIONS OF AYRA STARR’S ‘THE YEAR I TURNED 21’

How The Rise of Women-Only Parties in Nigeria Points Towards Lack of Safety for Women in Public Spaces

Posted on by Chiamaka Muoneke

A new generation of Nigerian women is redefining the slogan “girls just wanna have fun” by creating spaces exclusive to women. The trend began as both a product of pushback against a deeply patriarchal society and  a way for women to enjoy each other’s company in a safe, carefree environment. The parties feature activities that cater to women, from fashion shows to performances by female artists from across the country, while fueling stronger female solidarity and promising freedom from harassment or violence that’s common in regular parties.

“The party no go sweet if girls no dey” is unfortunately not a sentiment that is appreciated by Nigerian women when it comes to co-ed partying. The catchphrase, which was popularized by Nigerian artist, Falz, on his 2019 hit song, “Girls,” suggests that men are more inclined to attend parties graced with the female presence; which many would agree with. As a result, most mainstream parties inadvertently place men as their primary customers, and women as a source of entertainment and/or pleasure. For example, the popular “no entrance fee for women” policies are intended to attract more women into expectedly male-dominated spaces; and this include house parties, many of which have become a series of horror stories for women, with testimonies of over-sexualization in the form of games like Truth or Dare. 

This fear of being caught in predatory situations has prompted a desire for spaces where women can have fun without being preyed upon. And in response, Nigerian women have created women only parties, such as Hertitude by Z!koko magazine – described as the biggest women-only party in Nigeria – that cater to and center women and the activities that they enjoy. 

The editor-in-chief of Z!koko Magazine, Ruth Zakari, describes these spaces as a place for women to have a good time and find community. For many others, women-only spaces are a place to let loose while avoiding being mocked or sexually harassed. These parties feature not just an all-female audience, but also female performers, to prioritize women in the entertainment industry.

Ending the Female Enmity Stereotype

“I just feel safe,” says *Chioma, a regular attendee of women-only parties. “There’s no one groping me or looking at me like they’re planning something sinister or refusing to let go of me simply because I decided not to dance with them.”

Apart from the sense of security that they offer, these parties are a place where women can socialize and find like-minded friends, especially, as *Peju admits, making friends in adulthood can be difficult. “In those parties, women are always pushing other women to be happy,” she says, adding that women-only spaces have helped her navigate how to form new relationships with other women. 

Despite their clear benefits, the idea of women-only partying has not escaped criticism, most of it coming from men who claim they are being excluded from spaces that they feel entitled to and women who believe that men are being unfairly demonized. Some critics have gone as far as maliciously describing women-only parties as lesbian parties, purposefully endangering partygoers in an anti-LGBTQ country where violence against queer people is rampant.  

In even more worrisome cases, some men have attempted to infiltrate these parties by surrounding the venues or waiting at the entrance to harass attendees, and have also taken their harassment online, making a mockery of the parties on social media. “The peeking and insults some women got as soon as they stepped out of the gates just further proves why we feel unsafe among men sometimes,” says *Chelsea, an attendee at HERtitude 2024.  

This behavior further proves why these spaces are so necessary. Aside from reinforcing the fact that women are much safer with each other, they also help defy the notion that women are each other’s worst enemies, an often-regurgitated patriarchal trope that is intended to make women wary of each other. “I’ve never actually believed that women hate other women,” says *Peju, “I think that’s just a thing men cooked up for women to be at loggerheads, because when we are, men have the upper hand.” For these women, female solidarity is a necessary tool for ending a system of oppression. 

Where “All Women” Excludes Trans Women 

When it comes to women-only parties, there is one main rule – no men allowed. So when the attendees at Femme Fest 2024 (the annual event put together by Femme Africa, an organization that provides a platform for female entrepreneurs), poured in through the gates and guests realized that some of them were men, it killed the excitement of women who attended with the hopes of only being around other women. Femme Fest, based on its name and advertising, had been mistaken for a women-only  event. The confusion led to online backlash as people demanded an apology and clarification for future events. “I think the title was a bait,” says *Josephine, an attendee who also works in advertising and marketing. “I’m aware that it implies celebrating women, not necessarily a women-only party, but everything about the [fest] was targeted at women.”

To set the record straight, Ayomide Dokunmu, founder of Femme Africa, stated that the event was created for the purpose of platforming female artists and business owners. “We want to expand [female artists’] reach and we don’t want to limit their audience to one section of society,” she says, adding that while Femme Fest is marketed specifically towards women, the festival is open to everyone. 

Acknowledging the need for women-only spaces, she reiterates that Femme Africa hosts other events for an all-female audience, however, Femme Fest is not one of them.

“There would be a clearer marketing for the next [festival] but the point has always been to have an increased reach for the artists that platform our stage and for the female businesses to get as many customers as well.”

In a disappointing turn, the same critique was thrown online at Z!koko, a popularly queer-inclusive magazine, for making HERtitude inclusive of trans women, who many claim make cis women feel unsafe. “Trans women find it harder to navigate spaces with cis people,” says *Liber, a trans woman who was at HERrtitude and was bullied viciously online when photos of her at the event made their way into the hands of bigoted social media users. “So, if a trans woman is in a space with cis women, it’ll be harder for her.”

Liber said that she did not feel any hostility while  at the party, but only met shocking vitriol online. “The reaction I got on Twitter was different from what I got at the party,” she says. “There weren’t any men [at the party], but on Twitter there were a lot of men propagating transphobia towards me,” she added, suggesting that the difference in both experiences was due to the lack of male presence. 

Unfortunately, men were not the only ones pushing this agenda. Some cisgender women also expressed that by making women-only parties inclusive of trans women, it gives way for cisgender men to infiltrate these spaces disguised as trans women, a statement which not only holds trans women accountable for the actions of men, but also stigmatises all women who don’t present in traditionally feminine ways.

So, while women-only parties were created to be a safe haven, it is evident that more work must be done to protect women from harassment both online and in real life, and that awarding safety to only certain women defeats the core purpose of all this; making safe spaces for all women. 

[Featured Image Credits/Zikoko Mag]

In order to protect their identities, we only referred to certain speakers in this piece by their first names.

ICYMI: WHILE THE BOYS BICKER, TEMS AND AYRA STARR GEAR UP TO RELEASE CAREER-DEFINING ALBUMS

Tiwa Savage’s Water & Garri OST Is A Reminder Of Her Musical Legacy

Posted on by Ozioma Nwabuikwu

Tiwa Savage’s debut feature film, ‘Water & Garri,’ should not be confused with her 2021 EP of the same name. While planning to shoot a visual to commemorate the EP with the help of long-time collaborator and director, Meji Alabi, Savage’s attention was captured by the story they developed for the visual. Plans for the visual EP were scrapped and Alabi and Savage began to develop the story into a feature film. Even though the film’s creation began through the 2021 EP, Savage felt that none of the songs fit, and so decided to create a whole new ‘Water & Garri’ soundtrack featuring Asa, Ayra Starr and frequent collaborators, Reekado Banks and Young Jonn.  

Water & Garri, the film, starring Tiwa Savage, follows fashion designer Aisha’s return to her hometown, the fictional Eastside, after 10 years in the US. Her trip home is a bittersweet one, as long-awaited reunions trigger painful memories she’d rather bury. Eastside has become more turbulent with its residents falling deeper and deeper into hardship and crimes to survive. This is Meji Alabi’s first attempt at directing a feature film and Savage’s first time leading and executive producing one. Their common reference is music video production so it’s no surprise that ‘Water & Garri’ feels like one. Beautiful, well-lit and visually evocative but its content lacks the exposition and conviction that a full-length film requires. Its masterful soundtrack, though under-utilised in the film, is the saving grace of my experience. This is where the intentionality lies. 

 

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The soundtrack opens with “Eastside Intro,” a cinematic piano instrumental that sets the aesthetic tone, taking us to the coastal West African town, Eastside, where the film is set. Smooth and nostalgic, the beat is timeless, reminiscent of early Brandy or Alicia Keys’ catalog. The lead single of the project, “Lost Time,” continues the theme of R&B wistfulness with its lyrics expressing pure yearning for a love that has faced many setbacks in its progression, a significant theme that runs through much of the film. “Feels like I missed you before we met/Not meeting you sooner, I regret,” she croons. The track is stripped just enough to let us appreciate Savage’s vocal talents. The unique guitar instrumental on “Lost Time” is used liberally throughout the film, even in scenes not about love. It’s an enjoyable instrumental, but it loses its appeal as a romantic soundtrack when used so often. 

On the Fuji-inspired track, “Commona” featuring Savage’s frequent collaborators, Olamide and Mystro, we’re thrust back to familiar Afrobeats. It’s a hypnotic track, a perfect party starter for the summer. Olamide is in his element exemplified by his excellent wordplay and acclaimed producer, Mystro makes a return to the mic. Things are kicked into high gear on the next track, “Reason” featuring another popular collaborator of Ms. Savage, Reekado Banks. Hungry, declarative and cinematic, this amapiano-influenced track spurs you into action, inspiring you to go after what you want, no questions asked. It’s another masterful addition to the collaborations between Savage and Reekado Banks including “Go Down”, “Like” and “Speak To Me”.

Savage’s second and final solo track on this soundtrack, “Love O,” puts us back in our feels with lyrics boldly declaring the desire for a love on our own terms. Toeing the line between serenade and declaration, she affirms: “Guess I must shame them (shame them) wey talk say I no fit fall again/Here we go again o/I’m doing this my way o”. Her voice sparkles on the track with a bubbly instrumental which creates an elevated version of the classic Tiwa Savage Afropop ballads from the 2010s. 

Passion reaches a new high with the next track, “Emotions,” featuring first-time collaborator and legend, Asa. This folk song’s arrangement is inspired by Yoruba gospel music traditions and describes the high of clinging to a love that leaves you in distress. “Drown me in your emotions/Save all your love for me,” they fervently chorus in unison. Asa and Savage’s voices are filled with longing and meld beautifully to create a striking harmony. This track is by far the most complimentary collaboration on this soundtrack, a high bar to reach given the quality of the project. The last dose of yearning is delivered on “I Need You” featuring American gospel singer, Zacardi Cortez. A surprising collaboration but an exultant addition to the soundtrack with masterful vocal displays from both Savage and Cortez. 

The original soundtrack also delves headfirst into its festive Afropop roots, showing off the party-starting groove that propels the genre. The Ayra starr-featured “Gara” is built for shameless celebration. Teaming up for the first time, the duo delivers boastful lyrics over a boisterous Afrobeats rhythm. This was one of the few songs that was utilised prominently in the film, specifically in a club scene near the end of the movie. Black Sherif and Young Jonn drop in for a deft blend of amapiano and classic Afropop on “Kilimanjaro,” with the former delivering an outstanding verse. Out of all the tracks, these are probably the least uniquely produced, but are still good fun. 

The title track marks the soundtrack’s creative peak, as it unites multiple generations of African talent. Featuring Nigerian highlife duo, The Cavemen. and renowned Cameroonian jazz musician, Richard Bona, “Water & Garri” is a multi-genre composition that blends jazz, highlife, and Cameroonian music traditions. The message of the song also references the metaphor repeated throughout the film: life-giving “water” and coarse “garri” represent love and pain, good and bad but one can’t exist without the other. This song is a mixture of multiple elements to create something new and desirable which we have to do when coping with life, relationships and change. “Water and garri make eba for your wedding day” is a chant that is repeated throughout the song. The soundtrack concludes here on a note of outstanding musicality. 

Unlike most movie soundtracks, ‘Water & Garri,’ is not one you’ll forget after you leave the theater. It’s an aspirational collection of addictive songs with a healthy dose of nostalgia. The ‘Water & Garri’ soundtrack may be unique to the film, but it serves as a journey through Savage’s old and new sounds and collaborations, revealing a clear sonic evolution. Despite the film’s critique, Water & Garri remains a remarkable feat for Savage as her first feature film and hopefully might inspire other Nigerian artists to invest in visual storytelling. Savage has indicated her continued interest in the world of filmmaking and ‘Water & Garri’ is a reminder of her legacy of curating modern musical experiences, while paying homage to what has come before.

Listen to ‘Water & Garri’ here.

Featured Image Credits/The NATIVE

ICYMI: IT’S ABOUT TIME WE GIVE TIWA SAVAGE HER FLOWERS 

uNder Spotlight: Boistory’s piercing vulnerability lies at the heart of his musical expression

Posted on by Nwanneamaka Igwe

It’s a widely held belief that  most people are a product of their environment; and that idea really rings true for Ghanaian-Nigerian act, Boistory, who grew up consuming a myriad of influences from across the globe. To tie all of that together, he spent part of his childhood in Johannesburg, South Africa where he began sharpening the ear for music that would later inform the holistic approach he adopts today. “I was also at the exploratory age where I was listening to a lot of African psychedelic sounds as well as Ghanaian and Nigerian HighLife. I’m Igbo on my mom’s side, Ghanaian on my dad’s. There were a lot of different influences and I was finding the commonalities between all of them to fuse that into my own sound,” he shares with the NATIVE. Born Ozor Agyare-Kumi, Boistory’s ties to three of the biggest exports of African music today have exposed him to the unique perspective and unbridled creative freedom we enjoy in his music. 

With his introduction to the world via debut single, “Bruised,” Boistory arrived with open and honest confessions on a track he describes as “homemade” but was a clear indication of an artist with promise. The ascendant star continued sharpening his writing, performance and production skills, laying the foundation for  feel-good tracks reminiscent of diary entries. While unbridled sexual expression remains at the core of his messaging, Biostory’s music bears the hallmarks of a keen  self-awareness and emotional maturity.

Following his recently released 2-pack, ‘BEBE/CINNAMON,’ we caught up with the rising star about his creative process, the creative autonomy that comes with producing and writing his own music as well as the years-long journey to where he is today. 

 

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Our conversation which follows below has been lightly edited for clarity. 

NATIVE: Who is Boistory?

Boistory: I’m Boistory but some people call me story. As time goes on, I’m preferring ‘story’. I’m a singer, songwriter and producer. I make vibey tunes about life, living, sensual topics and occasionally, some deeper, [more] introspective ideas. 

Apart from being both from Ghana and Nigeria, you also partially lived in Johannesburg so you must have a wealth of inspirations. Talk to me about some of them. 

The time I started making music, I had just moved to South Africa and I was 15 or 16. Amapiano was not a thing yet but there was just a lot in general in Joburg. There’s a lot of House and Electronic music, even R&B and just different flavors of music just always bursting out. Of course I had my own upbringing with Ghanaian and Nigerian music as well. I was also very much a Trace kid. I was always watching Trace Africa, MTV Base and co.  I had never been around so much House music till I was in South Africa. You could just get into a taxi and it’s Deep House playing. It was such an eye opener for me and it really influenced a lot of my approach. I was also at the exploratory age where I was listening to a lot of African psychedelic sounds as well as Ghanaian and Nigerian HighLife. I’m Igbo on my mom’s side, Ghanaian on my dad’s. There were a lot of different influences and I was finding the commonalities between all of them to fuse that into my own sound.

As for names, I feel like it’s always changing. When I was a lot younger I had very set ones but now I’d call them the touchstones or foundational artists I return to when I’m lost. I would put William Onyeabor from Nigeria because I think he was one of the first musicians I listened to who gave me something different than anything I had heard from the country. He is my reminder to keep experimenting, keep being weird and keep making stuff you want whether or not it’s the most easily digestible. I would definitely throw in Frank Ocean. He’s definitely been a big cornerstone for me. He was one of the first R&B singers I listened to on my own as opposed to music I heard growing up. 

Your 2019 debut was “Bruised.” What were the moments leading up to that like? 

I was very young, early days of early uni. I’d been making music for five six years at that point and I had a plan. I was going to get a job, buy equipment and make music as my extra curricular. I didn’t care about any of the other stuff going on in university and once I started recording, I was itching to release something. I just wanted to see what people would think because I had played “Bruised” to a couple of close people and it sounded good. It’s very homemade but it has its own vibe. People liked it which was nice and it got me on the radar of some cool people. 

What do you want people to think when they hear your name? 

Freedom and bliss. I’m not gonna get too explicit but definitely a sense of bliss. I definitely want people to feel happy even if what I’m writing about isn’t necessarily a happy topic. For a lot of my songs I try to put the medicine in the sweet if you get what I mean. Even if at first it seems like a song is just about sex or whatever, you realize there’s also a bunch of other things going on. I craft a world that focuses on things that interest me and I mean sex definitely interests me, but outside of that, there’s anxiety. I have a lot of anxiety and I write about that a lot in almost all my music. A lot of the time when I’m writing a song, it feels like drinking and having fun in the midst of a crisis. That’s the thesis of Boistory. So I guess when they think of me, that’s what I want them to think – the world might be ending but we’re still gonna pour one out and cheers to the end of the world. 

With half a decade of being an artist under your belt, what moments or experiences stand out to you?  

I did a show for Spotify in Ghana last year which was really cool. It was at a very intimate venue, Freedom skatepark, which I’m attached to because people I know skate there. Another one was the first show I ever did. We had over 150 people show up and that was cool because everybody knew the words to the songs. Even if 20 people were in a room for me then and they all knew all the lyrics, I would have reacted the exact same. No one tells you what that feels like – hearing something you wrote coming out of other people’s mouths. It’s trippy and I can’t wait to do more shows to experience that again. 

Earlier you spoke about being a writer, producer and singer. What made you take the creative decision to produce your tracks in that way?

My family has big church singers, interestingly enough, but I never really sang. I wanted to be a producer though. I would send people beats but they wouldn’t like them. I kept at it and decided to use them for myself because I thought they were good. It also just made sense because I feel the music more when I’m directly involved in it, writing included. It’s way better when it’s a beat I’ve had some involvement in even if it’s just that I played the chords.

Do you think being your own producer gives you an edge when you’re making music? 

Definitely, there’s a benefit to it. I just pull up my workstation and go at it until I get what I’m looking for. I definitely think there’s that edge but autonomy is the big piece of this for me. [I like] not having to rely on people. That isn’t to say not say that there’s anything wrong with collaboration but if I have an idea and I want to pursue it, no one else can get into [my] head to put it down.

How would you typically describe your creative process? 

I think it depends on whether I’m trying to get something done quickly or if I’m just working. If I’m trying to get something done fast, then it’ll be melodies and lyrics. I’ve likely already made the beat and stored that somewhere. If I’m just working, it could be any combination of the lyrics, beats and melodies. I could just be walking on the street and think of a melody then I’ll try on a couple beats to see where it sticks. With “BEBE” for example, I had the saxophone chords looping in my brain. We put that down, I wrote lyrics and from there we added the drums. Actually, I didn’t add drums until six months after I had recorded. Sometimes I go with whatever comes first to me. 

How would you say you’ve grown in the past couple years regarding the quality of your music and maybe even the ease of your process as well?

I think it’s actually gotten harder. When I was starting out, everything felt so easy. I didn’t know how to use any software but there was always YouTube. Once I got the hang of things, it was so easy to make stuff. But the more I knew and learned, things started to get more difficult and complicated. 

That makes sense. When you get good at something, your expectations increase and the bar is only getting higher. 

Exactly, you expect more from yourself. You start to make comparisons to people you want to be like or the music you’re listening to, and you’re not just listening for the sake of it anymore. You’re listening, trying to pick out that one snare or that one drum kick so you can replicate. Everything becomes more difficult because you’ve got a different standard. I sometimes feel more clueless than I was at 16, and it’s been years since then. 

We spoke earlier about some of the themes you explore in your music and channeling vulnerability for the type of music you make. How do you manage to translate your feelings so clearly on paper and even with your voice?

Art in general is a very giving process. You have to be willing to give yourself in every respect and even if that’s just a feeling that you’re giving up or an actual experience, it’s better when it’s done wholeheartedly.  I’ve always understood that exchange and I’m not afraid of it. Even if it’s a situation where people around me feel uncomfortable because I’ve aired my “dirty laundry,” it’s the price you pay. I’ve always been able to accept that. 

Let’s talk about your recent 2-pack release, ‘BEBE/CINNAMON.’  You tapped Odunsi (The Engine) for that. How did you guys meet and what was it like working on that? 

He reached out to me. I had a version of “BEBE” out way before that I think he heard but never really told me how. Obviously, Odunsi is this music super ninja guy. I don’t know how he finds people or how anything works in his world. He found me and reached out on Instagram. The first thing he said was “send “BEBE””. There was no hi or nothing, it was hilarious. But what would I say about working with him? He has a very set idea of his own existence and general contribution to the music space. He knows what he wants things to look and sound like and that was something that I took away from working with him in person. Also just him being willing to show up for music videos or help put input in the visual design was something I appreciated. I also learned a lot regarding that level of precision and intention. 

Music is definitely a very subjective experience but did you have any messages or feelings you wanted listeners to take away from these two releases?

“BEBE” I wrote during the pandemic, when I was in Ghana. The moments were weird. It felt very dystopian because people were still throwing parties and going clubbing like normal. At the same time , people were dying and there was a lot to contain. I remember someone inviting me for this party and 10 minutes later, I learned that someone I knew passed away from COVID. I couldn’t compute it and I think a lot of “BEBE” [came from there]. The idea of another late night out in the middle of a crisis. Everything is happening at once. People are dying. I found that juxtaposition so interesting and a lot of my work flows in that direction. 

“CINNAMON” was written maybe two years after “BEBE” and I was talking to a lot of different people in the music space. Record labels had been approaching me and I was seeing a lot of different ideas on what people thought I should be doing. It was weird and I didn’t like it one bit. It made me very frustrated because I couldn’t always explain why. Then of course, there’s also that self doubt that had me thinking “am I only as good as this one song? Is everything else trash?” When I wrote “CINNAMON,” I was presenting that frustration and juxtaposing it with a sense of power that attention gave me. A lot of that song is really explicit but what that is trying to reflect is the idea of someone trying to exercise control over someone else because they’re feeling a lack of control in their own spaces. That song explored that message using sexual control as a means of therapy. As a means of regaining control over one’s life. That was the key messaging but of course, whatever people take away must work for them. 

This is your first release of the year so what more can we expect from you for the rest of the year?

So many more projects and singles dropping over the next couple months. Pretty soon actually. Just more interesting ideas being put forth. 

These countries you have various ties to – South Africa, Ghana & Nigeria – are dominating global and African music conversations. How would you say your music is fitting into the grain of what’s being exported now or maybe standing out from that crowd? Are you trying to be that voice that’s saying SA is more than Amapiano or Ghana and Nigeria are more than Afrobeats ? Where would you place yourself? 

Great question. I mean, I see myself as an underground superstar man. I don’t know how else to explain it. I don’t think I’ve ever wanted to be everybody’s everything or be the world’s biggest ever but I definitely want the respect. I want a career where the people who know my music, know my music deeply. Regarding the more global conversation, we have some of our best foot forward now but there’s so much interesting stuff going on in the underground, independent scenes. The artists are doing incredible things with sound and I think I want to be in that group. I want to be one of the people that is talked about for my contributions as opposed to just being talked about because I had a hit song that one time. I want to be meaningful. I want my impact to hit my community. 

With identity, that’s something I’ve often always played with in terms of where I’m from versus where people think I’m from based on how I sound. I’ve had the privilege to live in a lot of places and I’ve picked up different things from a variety of places, my heritage included. I want to make music that is true to how I see these places as opposed to just whatever people want to sell. Of course, it’s important to make money as well but I want to make music that feels true to my perspective on these places and that’s not always the most traditional sound. There’s a lot of other identities and perspectives that we have on our continent that are a lot more like mine so I’d like to stick to that. 

Listen to ‘BEBE/CINNAMON’ here.


[Featured Image Credits/The NATIVE]

ICYMI: UNDER: BEST NEW ARTISTS (APRIL, 2024)

adidas Originals brings back Classic Silhouettes for “1000 Back” Campaign

Posted on by Tayo Bero

Adidas Originals has introduced its latest campaign, which pays homage to three iconic silhouettes from football culture – the Gazelle, the Samba, and the Handball Spezial – and the communities that have worn them.

Founded in 2001, the adidas Originals lifestyle brand has maintained a keen commitment to product innovation and a unique ability to translate the creativity found in the sporting arenas through the lens of contemporary youth culture.

Shot and directed by Vincent Haycock, the “1000 Back” campaign visuals show a tableau of life seen through the story of a thousand originals. The single-take film, which stars Carlisle Aikens, a professional skateboarder and member of the adidas Skate Team, captures a protagonist as they make their way through a street – along the way shining a light on the people, communities, identities, and subcultures that have incorporated the iconic Trefoil logo into their everyday lives and made it their own.

Capturing the Samba, Handball Spezial, and Gazelle in a variety of locations and contexts, the story of the campaign brings to life a single shoe, worn a thousand ways.

The latest iteration of the adidas Originals “1000 Back” campaign is available now in US, UK and Nigerian stores.

Uax Completes Artistic Metamorphosis On ‘Love & Hustle’

Posted on by Wale Oloworekende

If there’s one thing to be learned from the creative renaissance ushered in by the rise in popularity of West Africa’s Alte community, it’s that art manifests – and evolves – across multiple diverse formats. And the artistic journey of Seyi Akinlade provides what is perhaps some of the most  unmistakable  proof of that idea. Applying his talents across multiple different facets of the creative scene, Akinlade’s work continues to defy categorization. And this most recent phase of his evolution as a storyteller sees him taking on the challenge through soulful melodies and deeply resonant lyrics.  

Best known as Ua.x, the work that first propelled him to mainstream attention was largely done out of the public’s view. Starting as a photographer, Ua.x evolved into a video director and helped curate visual treatments for acts like Prettyboy D-O, Tems, Lojay, and Rema. The next frontier of Ua.x’s artistic evolution is as a music-maker and he’s approaching it with the same level of rigor and sophistication that made him a go-to for artsy music videos that still carry a visible Nigerian identity. 

 

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There’s ample proof of Ua.x’s sonic vision from the get-go on “Safe,” his debut track that explores the warmth of romance. The Illkeyz-featuring single is teeming with influences from neo-R&B and alt-pop as Ua.x vocals float weightlessly over the languid instrumental. There’s also a methodical precision to Ua.x’s songwriting style that emphasizes every action and promise, making it sound genuinely lived-in and considered. All these factors hand his debut album, ‘Love & Hustle,’ a dreamy quality that feels almost deliberately movie-like. In one interview with Album Talks, he confirms as much. ‘Love & Hustle’ feels like the score from a film,” he says. “It’s a soundtrack to a part of life we can all relate to and I hope people find themselves in the music when they listen to it.”

Opening track, “Sweet Time,” is an earnest plea for love’s arrival that acknowledges the waiting process and the beauty that can come of persevering for the right person. Much of the opening stretch of ‘Love & Hustle’ is, similarly, an extensive study on the mechanics of waiting: for the right moment, the right person, the right experiences. The stakes are dramatically upped on “Nothing Compares” where Ua.x softly croons, “I need you here for my sanity,” atop rolling drums and plucky guitar strings while “Evergreen” feels like a belated glimpse at peace and stability that sets the pace for tracks like “Commas” and “Koselomi.”

There’s a number of songs on ‘Love & Hustle’ like “Everseen” and “Too Proud To Beg” that are tethered to everyday life and raw emotions but few cut to the heart of a specific feeling in the way that “Lagos 2 Crazy” expertly captures a generation’s wish for escapism and hedonism. We are living in unprecedented times as a global recession, rising inflation levels in Nigeria, and a general dissatisfaction with national leadership is leading to widespread apathy that is localized in Lagos as Nigeria’s cultural and commercial capital. 

In many ways, people are looking for ways to escape Lagos and the opening lyrics of “Lagos 2 Crazy” – “Lagos too crazy so I dipped to the Buj”–brings that sentiment to life with a sense of clarity that  feels both honest and whimsical. In an interview with Deeds Mag, he explained that he envisioned the song while hiking in Abuja. “I like walking/running to clear my head,” he says. “Abuja is good for that, plus you can hike. The idea for the song came on one of those hikes, in the evening too. It was one of those periods when life was moving mad. When Lagos gets too hot, this song is a good daydream.”

Far from being just a daydream, “Lagos 2 Crazy” also loops in elements of what young people everywhere in Nigeria and Lagos especially are looking for: a good time, romance, and a jet-set lifestyle. It is a mark of the specificity that informs Ua.x’s writing style that he’s able to bring all three motifs together without appearing scatterbrained. By the time that he brings in a reference to Lagos’ inbuilt chaos with the line, “the streets too crazy men don’t play by the rules,” it’s clear that “Lagos 2 Crazy” belongs to the canon of great songs about Nigeria’s most compelling city. 

Featured Image Credits/The NATIVE

ICYMI: REVIEW: SHALLIPOPI’S ‘SHAKESPOPI’

The Everlasting Resonance Of 2Face’s ‘Face2Face’

Posted on by Wale Oloworekende

From the very beginning, Innocent Idibia was feted as the great hope of Nigerian pop post-1999. And if you need proof of 2Face’s exalted reputation from that era, just press play on Eeedris Abdulkareem’s scorching diss song, “Wackawikee MCs,”  off his 2002 solo debut album, ‘Pass,’ where he fired shots at all the leading figures of Nigerian music from the late ‘90s to the early aughts with reckless abandon.  Of all the artists mentioned across the venomous five-minute record – Eddy Remedy, Tony Tetuila, and Blackface – only 2Face was spared the Kano-born artist’s ire. Instead 2Face received a compliment; Abdulkareem playfully described him as the Plantashun – a play on the name of the iconic boy band – with the rest of his band members described as Boiz. 

Something about 2Face always stood out as the heart of Plantashun Boiz, the three-man band that played a critical role in revolutionizing Nigerian pop. Between his boyish good looks, undeniable songwriting chops, and a mellifluous vocal style that ranged between heartfelt crooning and chest-thumping gusto, the Jos-born singer had a charisma  that made him the de-facto poster boy for a new generation of singers not irreparably traumatised by the years of military rule and the economic hardship that resulted from undemocratic rulership. 

At the tail-end of  “Wackawikee MCs,” amidst the bluster of a long-winded post-script, Eedris Abdulkareem would lay down the gauntlet in a way that would have far-reaching consequences for Nigerian pop music in the coming years, daring the Plantashun Boiz to release solo albums to test out who had the most traction of the band’s three members. Abdulkareem’s taunt landed on already-tense ground due to a build-up of unresolved issues among the group’s members, and even the release of  ‘Sold Out,’ the band’s sophomore album, could not stop their eventual splintering. 

Just two years after “Wackawikee MCs,” 2Face would be the first of the Plantashun Boiz to put out a solo album, turning in ‘Face2Face,’ a landmark album released under Kennis Music in 2004  that would reshape the fabric of Nigerian pop from top to bottom. At that time, Kennis Music was an absolute behemoth that was at the pinnacle of the music business in Nigeria while 2Face, undoubtedly talented, was fresh out of a boy band and hoping to make his mark as a solo artist. He desperately needed a win to validate his decision to leave the Plantashun Boiz and ‘Face2Face,’ rich with an almost-diaristic journaling of his day-to-day life, his imperfections, and dreams, would prove an ace. 

While with Plantashun Boiz, 2Face had the steady hands of Nelson Brown who helped the group develop their signature blend of Hip-Hop, R&B, and Soul music imbued with a Nigerian essence. Alone, the singer was going to have to figure out a way to bring his musical ideas to life without the figure who helped guide the earliest parts of his recording career. To work on ‘Face2Face,’ 2Face would team up with storied producer, OJB Jezreel, whose studio in Surulere was fast becoming a well-established destination for some of the most forward-thinking Nigerian music of that era. By the time 2Face sought out OJB to start work on  ‘Face2Face,’ the producer was already widely-regarded as one of Nigeria’s most inventive producers, receiving praise for his experimental work with distinctive percussive patterns and electric riffs that imbued the Hip-Hop they were making with an unmistakable Nigerian flavor. 

If 2Face was undoubtedly Nigerian pop’s biggest star-in-waiting, he was also one of the scene’s most visibly-criticized figures of that era. Reports about his personal life, supposed moral failings, and messy dealings with the Plantashun Boiz  regularly made the news and became national talking points.  ‘Face2Face’ provided an opportunity for the singer to address his critics and naysayers, and it’s an opportunity that he gleefully took on the pensive lead-off, “Nfana Ibaga,” while promising, “I go bare my mind/ I go bare am black and white.” There’s a host of issues being discussed on the song: the ridicule he experienced for not completing his education and the prevailing view that he’d never get married due to his messy sexual history are just some of the most pointed criticisms 2Face runs through. Atop OJB’s percussion-heavy instrumental, the singer delivered a melodic masterclass as he clinically deconstructed the claims against him and gave a window into his future plans for domination. 

While the bigger point about ‘Face2Face’ was 2Face’s grand debut as a solo voice, the subtext of the project was the sort of experimental sonic direction that he could take as he was no longer working within the strictures of a band. A lot of the biggest Plantashun Boiz songs drew from an R&B and Soul template that was both dreamy and lulling. On ‘Face2Face,’ 2Face still draws from that background but with a slight twist. Hip-Hop’s typical form and texture are adapted to assert his independence while relying on the unique tone of his voice, his usage of language, and OJB’s spirited production to translate the Nigerian experience effectively. 

It was a trick that worked even when he was emoting about the redemptive powers of romance as he does on “Ole.” Sing-rapping about a woman’s hold on him, 2Face sounds genuinely at a loss, mouthing off lines like, “You don’t even make me feel like your number one.” Well-regarded rapper, Freestyle, contributed a verse to the song that’s a clever wink to the 2Face-against-the-world narrative that bleeds through ‘Face2Face.’ By this point in his career, 2Face already had a well-earned reputation as a lothario of sorts and, on ‘Face2Face,’ he attempts to do away with that perception with a variety of romantic slow burners. “Right Here” is a throwback to the boyish charm of his Plantashun Boiz days but it was the guitar-laden ballad, “African Queen,” that captivated a generation of listeners. 

Amidst the hyper-machismo and lyrical competition of post-1999 Nigerian pop, not many had attempted to make a song dedicated to – and made for – women. Everything about “African Queen” course-corrected that gaping hole. From the opening guitar strums to 2Face’s breathless upper-reaching vocals and the tenderness of his syrupy lyrics about the abiding appeal of African women, it was a song unmistakably made for and about one primary audience. Rather than alienate listeners due to the specificity of that approach, “African Queen” eventually spread beyond the shores of Africa and became a rallying cry for black love everywhere, earning 2Face international acclaim and the MTV Europe Music Award for Best African Act in 2005 – an important liftoff point for the global assimilation of Afropop. 

For all of the celebratory motifs on ‘Face2Face,’ it is still primarily a product of its society and a reflection of the time period it emerged from. 2004 was just five years from the end of military rule and there were – and are – still visible signs of that era’s trauma. Everyone with a gun in early 2000s Nigeria effectively existed as judge, jury, and executioner; no one displayed this inherently brutal trait more than the Nigerian police who had built a reputation for heavy-handedness and reckless behavior. The skits on ‘Face2Face’ reflect the time and, one in particular, “Police (Skit),” shines a light on the duplicity of the police and the widespread distrust many Nigerians have for the police force. Twenty years on, not much has changed from the exact scenario described in  “Police (Skit).” The Nigerian police still lurk in dark corners and are broadly indistinguishable from armed robbers in their manner of operations and demeanor.  It is a sobering fact that lends another layer of prescience to ‘Face2Face.’ 

Five years out from a brutal military dictatorship, Nigeria was on the path to healing but things were still far from perfect. Poverty and institutional rot still persisted but music was a salve; and in 2004, 2Face was there to administer it.  Across the 11 songs on ‘Face2Face,’ he was urging his audience to love deeply, find a semblance of peace, or just get on with the groove in the middle of whatever problems were besetting them. “Keep on Rocking” is an instructive listen in this regard. It is an urgent party floor summons that both entertained and reassured with the opening line, “Nothing dey happen.” It is the sort of bacchanal-invigorating jam that a plethora of artists would aspire to create in the year to come even if their creations would never touch the dexterity of 2Face’s original.

For all the angsty energy that birthed ‘Face2Face,’ its closing stretch seemingly sees 2Face in more relaxed spirits as he settles into a meditative state. A Yoruba panegyrical stretch leads to soulful supplication on “Thank U Lord,” a heartfelt tearjerker that revealed 2Face’s spiritual inclinations as he attributed his success to a supreme being while delivering part of his second verse in his Udoma native language. The final song of the album, “Odi Ya,” is similarly sung in Udoma and features a verse from erstwhile Plantashun Boiz co-member, Blackface. 

The release of ‘Face2Face’ heralded a new epoch in Nigerian music as 2Face lasered his way to the top of the scene’s taxonomy thanks to slick melodies distilled from the skeleton of Hip-Hop, R&B, and soul that bore an easily distinguishable Nigeria marker. Working with OJB Jezreel, the album launched 2Face’s solo career and instantly placed him in rarified air. There was no doubt that the songs on the album were good but what stood out was the narrative of an eminent talent inviting his listeners along for a project-length incursion into his life while dealing with the maladies of a nation rising from ashes. Without ‘Face2Face,’ there is no integrated vision of Afropop that directly leads to the lineage that births Wande Coal’s ‘Mushin 2 Mo’Hits,’ Wizkid’s ‘Superstar,’ or Rema’s ‘Rave & Roses.’ In 2004, with his back to the wall, 2Face returned with a genre classic for the ages that created a template for the present and future of Afropop–and cemented his legend for all ages. 

[Featured Image Credits/The NATIVE]

ICYMI: REVIEW: WIZKID’S ‘SUPERSTAR’

While the boys bicker, Tems and Ayra Starr gear up to release career-defining albums

Posted on by Nwanneamaka Igwe

To say 2024 got off to a combative start would be an understatement. All the positive energy brought on by the new year quickly dissipated when artists across the globe began using their social media to air out their grievances with one another. From JT vs Yung Miami to Megan the Stallion vs Nicki Minaj, all bets were off when it came to exposing unpleasant information about some of the industry’s mainstream favourites. In Hip-Hop, this volatile energy manifested in multiple chains of interlocking beefs, initiated by a surprise verse delivered by Kendrick Lamar on Future and Metro Boomin’s “Like That”. Any notions of a Big 3 in Hip-Hop (Drake, J.Cole and himself), were shattered when Kendrick took the mic on that record  to crown himself Rap’s lone champion. And in  the month since the song’s release, the verse has prompted a response from J.Cole which was later withdrawn, as well as a slew of social media responses and diss tracks thrown every which way. 

The sentiments have seemingly trickled down to home turf, taking shape in a slightly different format. Since the random Instagram rant where he denied the Afrobeat label, audiences have seen Wizkid be more vocal than ever as he gears up for his upcoming album, ‘Morayo’. As expected, a considerable amount of uproar ensued and Fireboy followed shortly after with similar comments, leaving fans questioning the reasoning behind the sudden need to denounce  a genre that has helped earn artists like them accolades they enjoy today. Shortly after, the resident Prince of Afropop, Rema, took to X fka Twitter to get some things off his chest. After denouncing the decade-established Big 3 of Afropop – Burna boy, Wizkid & Davido – he shared that there’s now a Big 4, while embracing the term many of his peers are  suddenly rejecting: “Afrobeat >> AfroAnything,” he declared on X. 

Just when we thought the dust had finally settled, Wizkid took to X to ruffle some more feathers, a move  many are now led to believe was a stunt to drive sales and streams for current and future releases. After cheekily referring to Mavins CEO, Don Jazzy, as an influencer, Wizkid responded to a fan’s request for new music with a viral video of Davido, which was recently shared by an alleged sexual partner of his. Understandably, this warranted a response from Davido who took a jibe at the former’s music career, reigniting the almost decade long on-and-off squabble between the pair. Eventually, the interaction spiralled from subtle remarks to direct insults about the other’s craft, a stark contrast from the brewing bromance sparked by the announcement of a joint tour early in the year. 

And it’s not just two of the Big 3 going at each other. Abuja-based Drill rappers, Odumodublvk and Esskay, as well as Afropop hit-makers, Kizz Daniel and Tekno have also been at loggerheads. While Odumodublvck dismissed his squabble with Esskay as a PR stunt to promote his upcoming music, the latter pair publicly hashed out their disputes over monetary compensation from their hit song “Buga.”  The issue started over a fake interview where Tekno was said to have shared his feeling of slight for his 50% cut on the song which allegedly earned “billions of naira.” While Tekno denied ever doing the interview, he did throw subliminals in Kizz’s direction. 

In the midst of all the tension, fans are weary of the focus being driven away from the music; because as summer fast approaches, we have no hit single to soundtrack the season. But not to worry, because while the boys bicker over nothing, Tems and Ayra Starr are gearing up to drop highly anticipated, career defining albums this month. Since we last saw full-length project releases from the pair, they were at completely different points in their career and in just a short couple of years, it’s safe to say they’ve surpassed any previously set expectations. 

Since Tems sauntered onto the global stage with a vocal assist for Wizkid’s “Essence,” her rise to stardom has known no bounds. The peerless delivery for the pop star’s ‘Made in Lagos’ album positioned her to stretch her enchanting vocals and skilled penmanship beyond these parts, snagging her credits with Rihanna, Future – which earned her Grammy – and more across various projects. For her sophomore EP, Tems served her charm and chords on a stunning 5-track EP, ‘If Orange Was A Place’ gaining her a growing cult following supported by her inimitable star qualities. While the emotion-laden release was an effective reminder of Tems’ penchant for feel-good music, it provided only a peek into the artist’s ever-evolving yet reliable discography which would later lead down a path to greater success. A first look into the world of her upcoming debut album was “Me & U” a piercingly vulnerable tune where Tems challenges her faith, followed shortly by self-produced “Not An Angel,” with assistance from Sarz. She pulled more of those hit-making recipes with GuiltyBeatz, this time, assisted by Spax for “Love Me Jeje,” in an unofficial debut on the Coachella stage. The star shone brightly alongside  Wizkid and Justin Bieber, after which she previewed the then unreleased single, paying a tribute to Seyi Sodimu’s 1997 love classic with the same name. Basking in the light shone by her memorable performance, Tems announced her debut album, ‘BORN IN THE WILD’ slated to arrive this month. 

 

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Also treading a glorious path to stardom is Ayra Starr, who’s recently enjoyed many outstanding career feats since her debut album ‘19 and Dangerous.’ After releasing a follow-up in the form of a deluxe with features from music icons like Kelly Rowland, Ayra cemented her place as one of the greatest hit-makers of this decade with a slew of hits like “Sability,” “Stamina” and more. On them, she embodies confidence while bearing the crown as one of the youngest and most outstanding female acts coming from this part of the world. However, “Rush” really set things in motion for Ayra’s talent to seep through the cracks of a wider global audience, after the track earned millions of streams online. Deservedly so, she scored her first Grammy nomination for the monster single, granting her the title as the youngest Nigerian woman recognised for the award. Through her relentless efforts, Ayra never fails to remind us of the impact she’s had on the fabric of Afropop and how dearly she holds the responsibility of her position. Ahead of her sophomore album, ‘The Year I Turned 21,’ Ayra is heavy with gratitude on “Commas,” an ode to the journey thus far and the financial gains credited to her hard work and God’s grace. 

With all the negative energy in the air, anchored by random and erratic X rants and shady Instagram stories, it is reassuring to find some promising releases lined up in May’s calendar. And rather than relying on old releases, we can observe the boys, rest assured the faith of our song of the summer still lies in great hands. 

[Featured Image Credits/The NATIVE]

ICYMI: THE RISE OF A NEW BIG THREE IN AFROPOP

uNder: Best New Artists (April 2024)

Posted on by The Native

There has never been a more exciting time to be attuned to the pulse of African music. Across the continent, young, talented musicians are displaying incredible ingenuity while subverting genre norms and putting fresh spins on popular sounds across hip-hop, R&B, and Afropop. Archiving and cataloging the work of these inspired acts has never been more important than it is now, and it continues to be central to what we do at The NATIVE. In March, we hosted the inaugural edition of our uNder live showcase, completing a journey that started as ‘Fresh Meat’ in one iteration before evolving to its current form. The task has always been to shine a spotlight on rising acts across the continent who are doing innovative things with their music. 

With uNder alums like Tyla, Ayra Starr, and Omah Lay seeing huge success, we’re always obsessively on the lookout for who’s up next and, this month, we have a roll call of talent who we believe deserve all the attention and support possible. 

TG.BLK

For fans of: Ictooicy and Amaarae. 

Tg.blk’s music blurs the boundaries between moods, feelings, and genres. The Mombasa native sounds like she spends hours scouring the underground circuit for the coolest subterranean influences that she can meld with her stream-of-consciousness raps that oscillate between leering braggadociousness and withering self-introspection. It has all the perfect ingredients for a sound that pays stylistic homage to the lyrical rigour of golden-age Hip-Hop but is not afraid to subvert that genre’s sonic trappings in favour of forward-thinking production styles. 

Always interested in music and Hip-Hop from her teenage years, tg.blk’s artistic awakening was inspired by watching Straight Outta Compton in 2015. After seeing the biopic, tg.blk formed a group with a friend in high school called Butterscotch. They released a six-song mixtape of  popular song covers before disintegrating. Things took a more serious form for tg.blk when she moved to the United States for university and started making beats using a cracked copy of Logic. She gravitated towards lo-fi instrumentals that complemented her DIY approach to making music and released “Cap Chronicles” in January 2021. 

Later that year, she released her break-out song, “Love Being Used.” Built around a psychedelic instrumental that explores putting herself  through toxicity and pain just to experience love, it’s a concise and emotionally-weighty examination of the landmines that we can sometimes walk into when navigating relationships. For an artist whose music depends so heavily on genuine experiences, it’s not a surprise that it took another two years to hear from tg.blk again. Her 2023 release, “Nydfrystl,” was a status update on the evolutions in her life as she settled into life post-university and acclimatised to life in Mombasa again. 

2024 has been tg.blk’s most prolific year yet. In February, she released “Gin and Wine (Ginuwine)” and followed it up with “Motorola Money”–which she  described as her first “bad bitch anthem”–on the last day of April. Speaking about the song, tg.nlk says: “It’s about having fun with your friends, getting money and feeling confident. It’s the first “bad bitch” anthem I’ve ever made and it was so fun to write.” “Motorola Money on my cell phone bitch chat gpt ai shit” was basically me referencing bad bitches making money online. There’s so much free money online and these days you don’t even have to work to get it. I’ve literally seen people making money using AI. Also it just sounds cool.” – W.O. 

BOISTORY

For Fans of: Odeal, Tay Iwar & Gabzy

At the core of Boistory’s musical expression is freedom, manifested through a free-spirited approach to the soundscapes he traverses as well as the holistic approach to creation he adopts. While he majorly operates within contemporary R&B, he intricately incorporates elements of Funk, Jazz and other genres to create a melting pot of sounds that convey complex emotions we can all relate to. Alongside genre-bending, Boistory’s versatility shines brightly through his masterful production and sleek bars, made clear by his clever penmanship. Speaking about taking on the roles of singer-writer-producer, Boistory shares, “The autonomy is the big piece of this for me. [I like] not having to rely on people. That isn’t to say not say that there’s anything wrong with the collaboration but if I have an idea and I want to pursue it, no one else can get into your head to put it down.” From his low-fi 2019 debut, “Bruised,” to the enchanting hums on “Leaning,” Boistory presents a sensual energy dripped with honeyed vocals and soft croons, a clear inclination towards the emotion-laden delivery we receive across future releases. 

Tracking a steady path to success, Boistory has held on to his piercing vulnerability, only refining his tone and messaging. He arrives armed with jazzy bass lines and sleek keys, anchored by silky vocals he uses to contrast the darker emotions and anxieties he expresses. Because his charm almost overpowers his occasionally dark observations, Boistory’s messaging only comes through clearly to the vigilant listener who catches the suggestive undertones. His recently released two-pack, ‘BEBE/CINNAMON’ is a clear indicator of his style, as he tracks a drawn out interaction between lovers, where their non-committal intentions are tucked under a bed of groovy, psychedelic chords and a vocal assist from Odunsi(The Engine). Other than his ability to deliver the harshest realities of romance in the sweetest tones, Boistory’s appeal lies in his explorative approach which positions him as a refreshing face bound to leave audiences captivated in the long run. – N.I.

INTERNET GIRL

For fans of: Obongjayar & VntageParadise

Initially starting as a duo that rapped over silvery trap beats, childhood friends TK and Nesse started Internet Girl as an outlet for their artistic expressions. While adding the finishing touches to their debut project, the duo met lead guitarist/producer, Griggs, through Instagram and the three soon became an indie-pop trio with a fast-growing following from a vast international audience. 

Internet Girl is propelled by a boyish aesthetic and an upbeat funk that stylizes and soundtracks the lives of curious and edgy teenagers. Through projects such as ‘The World I love’ and ‘Parasocial Interaction,‘ characterised by Nesse’s vocals and enveloped by production from Griggs and TK, Internet Girl has amassed an international audience swooned by their brazen funk and mesmerised by their sonic fusion, which is reminiscent of 80’s punk bands and Radiohead music. 

Although the band does not get as much love locally as they do internationally; at the heart of their far-reaching music is an authenticity that is largely inspired by internet culture and a thirst to reimagine and create a distinct global sound through a local lens. – J.F 

SINACHI

For fans of: Odunsi(The Engine) & Cruel Santino

Sinachi oozes confidence in how he wants to be perceived and even more so in how he wants his music to be defined. Raised in Gwagwalada, Abuja, and heavily inspired by early alte forerunners, Sinachi’s music is both a consolidation of all his progenitors and an unending desire to be decidedly different, creating music that feels novel yet equally familiar. 

Since kicking off his music career in early 2021, Sinachi has roared up the industry at full throttle, handing off two EPs and two albums that earmark the quintessence of his varied artistry while demonstrating his relentless work ethic and countless artistic mutations.

Sinachi earned his cornerstone moment with the 2022 release of “Chigal,” but he has remained undeterred in rising to the apex of the alternative scene, refining his music to its most distinct form yet. He still pays homage to his early inspirations, but now he is taking the torch from their hands to light his path. – J.F

[Featured Image Credits/The NATIVE]

Words by Wale Oloworekende, Nwanneamaka Igwe & Jim Falola

ICYMI: UNDER LIVE: FOUR ARTISTS PERFORMING AT THE LIVE SHOW

Monkey Shoulder and Worldwide FM are teaming up to support grassroot artists across the globe

Posted on by Tayo Bero

With the global music scene becoming increasingly interconnected, artists from all over the world are building relationships and reaching audiences far beyond their geographical boundaries. 

To further this creative momentum, Scottish Whisky brand, Monkey Shoulder and online radio station Worldwide FM are joining forces to empower global grassroots music communities, through an initiative called Studio Monkey Shoulder. 

The programme invites applicants from Nigeria, the UK, US, Taiwan, and India, to apply for a grant worth up to N100 million in rewards and sponsorship. Through Studio Monkey Shoulder, trailblazers from the participating countries will be selected to receive both the capital to bring an original project to life, and invaluable support from Worldwide FM and Monkey Shoulder.

 

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These kinds of initiatives are natural for Worldwide FM, whose mission is to provide platforms that champion marginalised voices and alternative perspectives.

“This is exactly why I started Worldwide FM radio and there are so many other incredible community-driven projects out there I want to uncover, which is what excites us about Studio Monkey Shoulder,” said Gilles Peterson, DJ, broadcaster and founder of Worldwide FM.

For its part, Monkey shoulder – the world’s first made-for-mixing blended malt whisky – is all about challenging conventions. 

“Monkey Shoulder believes everything is better when diverse,” said Ieuan Morgan, Global Manager for Monkey Shoulder. “That applies to our whisky as it also does to music that fosters creativity, variety, and innovation. Our ambition is to serve as a long-term supporter of grassroots music scenes. By partnering with Gilles and Worldwide FM, we look forward to unraveling new talents and telling their stories.”

For more details about Studio Monkey Shoulder and for submissions, click here.

[Featured Image Credits/The NATIVE]

ICYMI: SHE RUNS THE BOARD IS HELPING WOMEN IN MUSIC THRIVE

God Bless The DJ

Posted on by Nwanneamaka Igwe

For many, the makings of a great DJ relies heavily on their ability to tap into the energy of a space and determine just how to match or boost the mood in the room. From setting the mood with slow jams on night-time radio shows, to playing the hottest new songs on the block, the role of the DJ has always been to package the best sounds to suit the moment. With the rise of radio in major cities like New York and Memphis, DJs started to gain more cultural relevance, as well as an increased demand to have their sets heard in spaces other than your car stereo. But the origins of modern day DJing go back to The Bronx in the early 1970s, where DJ Kool Herc introduced the idea of choosing two identical records and extending the rhythmic segments by blending the sounds from the end of one song to the start of another. 

DJs became the fuel for Hip-Hop jams, as they researched the right selection of music to match their audiences tastes, while introducing new sounds that they could tap into. With this level of responsibility, these vibe curators were understandably very focused on the process and hardly had time to pick up the microphone and interact with their audience. That’s where Emcees, or as we refer to them now, hypemen, came into the picture–their job was to get the people involved. So before the arrival of streaming platforms and increased accessibility to music across the globe thanks to the internet, DJs had already begun cementing themselves as true music custodians. From block parties to wedding receptions, the craft gradually transcended into opening for various acts at events or festivals, effectively enabling DJs to stake their claim in the music industry. 

Later in the 1990s, the industry witnessed a significant influx of international DJs who gained popularity for one-of-one sets and mixes with refreshing experimentations across Hip-hop and Techno. DJs across Africa began navigating a steady come-up by pairing homegrown influences and soundscapes with Western sensibilities. The likes of Vinni Da Vinci, DJ Superfly and DJ Mbuso soundtracked a large part of the movement into the continent, intricately weaving House music into the identity of South African people. 

Thanks to high cost implications and sometimes unavailability of artists during this time, event planners began stacking their festival lineups with DJs, giving them the room to build more tangible audience relationships. South African veteran DJ, Black Coffee, made his way into the scene with the Red Bull Music Academy–a travelling music initiative with festivals and workshops–from joining his cousin’s sound system crew at parties across SA. He slowly weaved his way into the international dance scene in the mid 2000s with a series of memorable sets, a remix for Hugh Masekela’s 1972 hit, “Stimela,” and a debut album. He became a fixture of the global electronic scene and has since flown the flag of the vibrant House sounds in his native South Africa and beyond. His impact has stretched further into mainstream, R&B and Pop-leaning audiences with a chart topping sample for Drake’s Jorja Smith-assisted “Get It Together” off “Superman” from his 2009 album, ‘Home Brewed’ or his refreshing approaching to mixing on Snoh Alegra’s “Do 4 Love” and Alicia Keys’ “In Common.” Black Coffee’s magic lies in taking sounds commonly associated with  niche music audiences, and making them digestible for any kind of palette. 

As the production-led electronic genre went globe-trotting, DJ-led initiatives sprang up everywhere, with resources dedicated to empowering the craft’s finest talents. Think Boiler Room, one of the biggest online music broadcasting and promotional platforms, established back in 2010. Alongside promoting great music in a vibrant environment to select partygoers, Boiler Room focuses on underground DJs, giving them an audience that will yield steady streams across the internet. Canadian-American DJ Kaytranada, who had his breakthrough moment on the platform over 10 years ago, has gone on to be one of the scene’s leading faces, sticking out for his unique interpretations blended with Pop, Hip-Hop and a slew of other genres. At this point, it feels like clockwork to see a new DJ-producer emerge onto the scene but veterans like DJ Khaled have long guarded the keys with mammoth tracks like Rihanna and Bryson Tiller’s “Wild Thoughts.”

In these parts however, DJs are still slowly upgrading from being second class citizens in the music industry. Tracks like DJ Maphorisa’s “Soweto Baby” and SPINALL’s “Gba Gbe E” or “OHEMA” would rule the airwaves for weeks on end but many fail to recognise the songs’ ownership when the vocals are provided by behemoth artists like Wizkid, Burna Boy and Mr Eazi respectively. Another unmissable mention in this ilk of uniquely talented but previously underappreciated DJs is Prince Kaybee, forever transforming the face of Dance with soul stirring features like “Charlotte,” off his 2017 sophomore album, ‘I Am Music.’ Crediting issues aside, these acts spun unforgettable mixes on the deck and produced evergreen tracks in the studio, summed into an impact that cannot be overstated. 

Still, the pandemic-induced resurgence of the House scene, serving sounds straight from the burbs of South Africa, introduced a newfound admiration for the craft. This Deep-House soundscape from the 90’s emerged with soulful innovative accents often paired with jazz sensibilities and a message certain to transcend language barriers. Acts like DJ Lag who popped up on the scene in the early 2010s as a pioneer of Gqom, stirred the pot of Electronic music now presented alongside uniquely South African touches in the form of instrumentals and ad-libs. From there, a genre that holds similar sensibilities upon which Gqom was built, Amapiano, emerged. Amapiano DJs and producers were breaking out from the underground spaces into lounges, unlicensed liquor spots, clubs and more only to later earn peak time slots at events and festivals. ‘Piano luminaries like Scorpion Kings, Major League DJz, Virgo Deep and Focalistic came into full view with inventive equations that drew from Deep-House led excursions and the growing presence of Private School Amapiano.  Shining bright in the male-dominated scene are acts like Uncle Waffles, with three extended plays featuring hit tracks “Tanzania,” “Yahyuppiyah” and “Peacock Revisit”, and a spot on the music festival stage of our generation, Coachella. Right by her side are acts like Lady Du and DBN Gogo, also stretching boundaries with their Bacardi-infused takes. 

Away from the domineering South African music scene, we have decade-long contributors like Sarz, breeding the cross-continental collaborations like “Happiness,” coupled with appearances across global stages. The burgeoning party culture, padded by an ever-evolving club scene that drives audiences from across the world to Lagos and Accra, has also shed great light not just on the importance of DJs but the harsh realities they face back home.

In an exclusive sit-down with DJ Lag, he shared,

“Most of the places I play treat me like a king but back home they wont give that much respect because you’re born here. They already know who you are. Overseas they take you seriously because you’re an international artist to them.” 

The craft has always held a certain level of sacredness, where a DJ playing your song in the club could see you catapulted to success, especially for underground artists yet to be discovered. Because if your record popped off in the clubs, successfully winning the souls of intoxicated attendees searching for an escape, you were likely to receive support on radio which later translated to high streaming numbers in days to come. Think Davido’s “Champion Sound” , which became hot in the clubs and on the streets months ahead of its official November 2021 release, when the Focalistic-featuring Amapiano tune was leaked to DJs. 

Despite their indelible impact in the promotion and preservation of the culture, DJs are still slow to receive unbridled industry-wide support and respect. When considered for bigger events and festivals, they either barely play ten-minute sets or find themselves trapped opening for an artist with a three hour set they’re hardly prepared for. On the other hand, Emcees whose entire presence acts as a plus for the DJs, often receive higher monetary compensation or recognition than the acts themselves. Other times, issues arise when DJs who’ve made a name for themselves request their names be boldly written with style specifications on your lineup like the main acts they are. But whether or not the scene chooses to prioritise their craft,  DJs across the continent have taken their power back with the aid of DJ-focused events. Boiler room continues to spread its global impact with its recently concluded Lagos comeback while DJ Spinall flew Lagos to Palm Springs for Coachella. Accra’s iMullar Sound System, SA’s Barcardi Best Day Ever and Lagos’ Obi House or Element House also serve as noteworthy references of just how much growth the industry is bound to witness if we put some respect on their names.


Featured Image Credits/The NATIVE

ICYMI: THE INTOXICATING VIRALITY OF TITOM & YUPPE’S “TSHWALA BAM” AND IT’S ACCOMPANYING TIKTOK-DRIVEN DANCE CHALLENGE 

She Runs the Boards is Helping Women in Music Thrive

Posted on by Damilola Animashaun

According to a 2022 report examining Inclusion In The Recording Studio, women make up 23% of the music creation process, showing that the goal of gender parity in the music industry still needs some heavy lifting. This is why initiatives like Platoon’s She Runs The Boards ring extra important in today’s climate, creating a direct pipeline for women in the music industry to be discovered, seen and heard. 

She Runs The Boards is a global music programme created to challenge the status quo and provide the tools, time and opportunity for women in music to create and connect with each other. The programme was created by Linda Ayoola (Head Of Music, Africa) and Grace Hsiu (Senior Manager of Artist Strategy) with the aim of challenging the lack of racial and gender diversity in the global music industry. 

For Women’s History Month, She Runs The Boards partnered with Apple Music Publishing to curate a women-led writing camp at Platoon Studios in London. The writing camp featured Platoon artists, Izabel, Sarah Phenom and other female and non-binary songwriters, artists and creators. The camp was a key part of their commitment  to shifting the often male-dominated culture of the music industry, and creating spaces to celebrate and help develop the talent that women in the industry have to offer. 

 

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In addition to the writing camp, Platoon also hosted a production masterclass, held to equip women from diverse communities with the skills they need to thrive in the industry. Findings from the Inclusion In The Recording Studio study showed that 6.5% of the producers credited on songs in the Billboard Hot 100 chart throughout 2022 were women, which surpassed the previous record of 4.9% in 2019. This small, yet notable increase can be attributed, in part at least, to the efforts made by women-centred initiatives such as She Runs The Boards, who are well positioned to keep creating space for women in today’s music industry.  

In an interview with Music Week back in 2023, Hsiu stated: 

“We’re focused on two things: a curated roster of amazing artists; and building a strong community around this roster that encourages each of them to tell their individual story, not be afraid to experiment and take risks, and ultimately build their brand. Our studios were built with that ethos in mind.” 

This year’s edition of She Runs The Boards took this goal a step further, launching the first Selecta, a DJ mix series spotlighting upcoming DJ talent across all genres. The first two mixes were released last week to celebrate Women’s History Month and featured mixes from DJ Charisse C and DJ Lora. 

Last year, Platoon launched She Runs The Boards in Nigeria in collaboration with our friends at Femme Africa, with a day-long production masterclass. This year, the partnership has continued with a women-led recording camp, held in Lagos last week. 

Speaking to the NATIVE about She Runs The Boards, Ayoola says:

“We believe in the transformative power of music to break barriers and build bridges across continents. By creating a music camps and initiatives exclusively for women, we aim to foster a supportive and inclusive environment where diverse voices can shine, collaborate, and inspire.”

Featured Image Credits/Platoon

ICYMI: HOW J ERVING’S HUMAN RE SOURCES IS BETTING ON GLOBAL STORIES 

Bobrisky’s sentencing should make us all worried

Posted on by Tayo Bero

Despite being outlawed by the Central Bank of Nigeria back in 2007, spraying money has been a cultural mainstay in Nigeria for decades. From weddings to birthdays to religious ceremonies, you’d be hard pressed to find any kind of celebration where performers, celebrants and party goers alike aren’t being showered with mint notes on the dancefloor.

This year, however, the law seems to be cracking down on the practice, and last week Bobrisky was sentenced to six months in jail with no possibility of a fine, for spraying money at the premier for Eniola Ajao’s new Ajakaju film premier back in March. The Economic and Financial Crimes Commission (EFCC) first detained her on April 3, after they obtained video footage of her spraying the band with new Naira notes at the event.

In a 2022 article for the Republic Journal, writer Ayoola Oladipupo explored the cultural history of money spraying, and its origins in the 1950s and ‘60s owambe culture of the south west. “In line with the Yoruba praise culture, juju musicians would also panegyrize the highly respected members of the audience, who would almost subconsciously respond to the words of the singer and the talking drum by ‘spraying’ the performers with banknotes in appreciation of their showmanship.”

Money spraying spread from its starting point in the Lagos and Ibadan party scenes, making its way across Nigeria and becoming so mainstream, that it spurred a whole industry for “mint” notes. Its prevalence and significance as a cultural practice is what makes Bobrisky’s arrest and sentencing so concerning. 

First, there’s the hypocrisy. If the Nigerian government is going to talk about abuse of the Naira, then the call is coming from inside the house with this one. CBN criminalised money spraying because it “constitutes an abuse and defacing of the Naira.” The bank, Oladipupo also mentions in his Republic article, also believes that money spraying has contributed to the growth of an illicit ‘mint’ market, where new banknotes are sold at far higher prices than their face value. Meanwhile, thanks to government malfeasance and a legacy of financial mismanagement throughout Nigeria’s halls of power, the Naira has spent the last decade steadily sliding downward into the currency crisis that we are presently facing. That abuse of the Naira feels like a more worthy cause to pay attention to, rather than a social construct that has no bearing on the state of the country’s affairs.

In addition, there’s the myriad of other pressing issues that the Nigerian government ignores on a daily basis, such as unemployment, the cost of living, gender based violence, extreme poverty, lack of adequate services for vulnerable people and of course the ever-looming threat of widespread civil unrest due to the combination of all these factors. To come down on celebrities for spraying money, when the government coffers are reportedly filled with the spoils of their greed feels like a joke in a country where the average citizen survives on less than $1 a day. 

It’s also really important to note who is being arrested. Bobrisky has told us many times that she identifies as female, a fact that has put a target on her back both culturally and legally in Nigeria. Despite the existence of robust communities of gay, lesbian and gender nonconforming people throughout Nigeria’s history, attitudes toward queer people have barely evolved since Christian European settlers first succeeded in convincing Africans that homosexuality was unnatural. And in a country where violent queerphobia is not only socially acceptable but has also, at points, been codified into law, it’s not hard to draw the obvious conclusion that Bobrisky is being targeted. 

Meanwhile, EFCC has so far been curiously silent when it comes to other powerful men who are arguably even more lavish and excessive with their “mutilation” of the naira. 

News reports from earlier this month suggested that the state agency was planning to arraign Lagos-based business man Obi Cubana, who is well-known for money spraying. 

No further updates have been shared and based on his social media activity, he still appears to be free. 

Last week, it was announced that Bobrisky has been transferred from Ikoyi Prison, to Kiri Kiri Correctional Centre, a maximum security level prison reserved for the most violent of offenders. And if there was any doubt that this is a bigoted witch-hunt, consider the fact that the Nigerian Correctional Services have gone out of their way to disclose private information relating to Bobrisky’s gender identity and to confirm that she’s being held in a male prison. 

What’s most terrifying about her arrest and sentencing, though, is that it shows just how easily the government can arbitrarily enforce laws that had previously been so widely ignored, many people didn’t even know they existed. Bobrisky, an openly trans woman is being publicly and violently scapegoated because the expectation is that in a society built to hate people like her, no one will care. 

But while the government may be working hard to stoke the flames of prejudice so easily ignited in the Nigerian spirit, the truth is that we are all at the mercy of their self-interested whims. And make no mistake, if it can happen to Bobrisky, it could happen to any of us. 

Soon after her sentence was announced, the EFCC’s official X account put out a statement warning people to avoid Naira abuse. A poem attached to the post reads: 

Na our Naira you dey Abuse 

Change your ways, you Refuse

When the EFCC comes to Accuse 

Know say you no go get Excuse 

Ask Bob for the update to Use

This is a government institution making light of its own overreach, but there’s nothing funny about what’s happening. It’s a show of both how deeply unserious and how frighteningly tyrannical our state agencies are, and it’s something that should seriously worry us all. 

Featured Image Credits/The NATIVE

ICYMI: SILENCING NIGERIA RAPPERS IS NOT THE ANSWER TO CYBER CRIME 

The Intoxicating Virality of TitoM & Yuppe’s “Tshwala Bam” and its Accompanying TikTok-Driven Dance Challenge

Posted on by Madzadza Miya

In the hyperproductive and inventive Amapiano scene, songs are churned out rapidly. On the average, an artist can release about three to five songs or  projects and appear as a guest on countless others. However, only a select few songs get to become bonafide hits that resonate beyond their primary audience. Their cross-market breakthroughs can be attributed to several factors, such as the quality of the song, contributors, release planning, roll-out strategy, promo, and sometimes just pure luck. In 2024, TitoM and Yuppe’s “Tshwala Bam” is the latest to have joined the premium list of Amapiano records that have traversed borders.

Casual Amapiano listeners might not be familiar with TitoM, but dedicated and attentive fans know that this is not an overnight success. The Pretoria-born producer/DJ has worked with multiple established ‘Piano acts and famously appears as a feature on Mellow & Sleazy’s hit tracks “Imnandi Lento,” “Amasango,” and “Thesha.” While Yuppe is on Toby Franco’s “Umona” and Major Keys’ “Cina,” which were both relatively trend-worthy and prominent. 

Following its release on February 23rd, “Tshwala Bam” soared to the top of streaming charts in its home country of South Africa. Armed with a shoulder-throbbing challenge, the viral track has seen seismic growth. It is now well on its way to becoming a global phenomenon with the likes of Kai Cenat, Saucy Santana, Shenseea, Jason Derulo and the Beyoncé famed Les Twins trying their hand at the rhythmic dance challenge. 

The upward trajectory of “Tshwala Bam” mirrors that of Tyler ICU’s “Mnike” — which was the second most exported SA track, according to Spotify 2023 Wrapped data. Over the past few years, a couple of other Amapiano songs have significantly impacted the global pop framework. For instance, three of the five songs nominated for the Best African Music Performance category at this year’s Grammys were steeped in Amapiano elements; the Asake and Olamide hit record is even named after the genre. These fusions have also spawned compelling cross-continental collaborations, one of the latest being the Pheelz-assisted and produced Usher single “Ruin,” which concurrently has a standalone EP featuring Amapiano remixes from Soa Mattrix, Junior Taurus and Major League DJz.

The Making of the Song 

The story of how the now career-defining “Tshwala Bam” came together is one of fate and chance. “I met S.N.E at a social [event], and we did a track,” shares TitoM. Impressed by S.N.E’s natural singing talent, Tito told Yuppe about his desire to work with him more. “We tried to organise a [studio] session with him, but he couldn’t make it. We then decided to create a new beat and use the vocals from the previous track and that’s how “Tshwala Bam” was born,” the Mamelodi township-hailing producer continues. 

“The whole thing was unplanned,” adds Yuppe, who also comes from the same township. “We did the beat in my bedroom studio, but the first version [of the song] is not the one you know. We didn’t finish it, actually. The following morning, we sent [the initial version] to S.N.E.” 

However, it was not as simple and straightforward as they put it. Though he corroborates the story, S.N.E (the lead vocalist on the track) speaks about his disappointment when the initial track he did with Tito was released as an instrumental only, without any explanation or communication. In his head, he thought the vocals were not good enough. So he was pleasantly surprised when Tito and Yuppe used those same vocals as the hook of another song.

After a handful of touch-ups and versions of “Tshwala Bam,” the pair added EeQue to the track. The vocalist-rapper, who has previously collaborated with the globetrotting Uncle Waffles (“Yahyuppiyah”) and Focalistic (“Khekheleza”), brought his dashing melodies and dizzying flow to the table, adding another pocket to an already exhilarating record.

The Song’s Meaning and Messaging 

While the dance has been the driving force, the song’s lyrics and meaning have also sparked conversation online. There have been varying interpretations of the lyrics and their meaning, even among South Africans. Although the song’s lyrics are sung in isiZulu—the country’s most widely spoken (and understood) indigenous language, S.N.E jokingly says he is now also unsure about what he hears when he listens back despite being the one who wrote the words. “People just started saying “mzala” (cousin) instead of “tshwala” (alcohol),” S.N.E clarifies the first line of the hook. “To a point where now I even hear myself saying “mzala” when I know what I said when we recorded.” 

Though underpinned by a thumping, floor-inviting beat, the song carries a weighty message and tackles a heavy societal issue. “I wrote it from the perspective of someone who abuses alcohol,” S.N.E reflects. “I highlight and try to relate to someone who has a drinking problem. I stay in the township so I see so many of them. And I see how much they themselves realise that alcohol is wrong for them, but they still drink it.”

Lyrics and English translation of the hook

“Ngixolele tshwala (mzala)[forgive me alcohol (my cousin)]/ Ungay’qed’ imali yami [don’t finish my money]/ Uyang’sind’ umthwalo wami [my burdens are heavy]/ Ngal’theth’icala [I spoke about this before]/ Wetshwal’udlala ngami [you are playing with me alcohol]/ Endlini bakhala ngami [they are complaining about me at home]/ Wadlala ngami wetshwala bami [you played with me, my alcohol].”

The song’s subtext highlights the complicated relationship between people and liquor. “It’s more like having a conversation with alcohol,” the Soweto-raised vocalist clarifies of the original lyrics. “This is for someone who acknowledges that they are an alcoholic and realise how bad their situation is so much that they result in talking to the actual problem so as to plead with [the alcohol] to leave them alone.” 

TikTok Challenge and Streaming Success

In the last few years, TikTok has bolstered the popularity of many songs. In the post-COVID-19 social media and streaming era, a number of songs first surface as teasers on the short-form video platform, and then some sort of challenge or use of the sound carries the snippet to notable virality. Similarly, the “Tshwala Bam” trend begins with a clip of three guys (dressed in black) doing the now-famous dance at what seems to be a house party. The only catch is that they had been dancing to a different song when the original video was first shared. “I started uploading the sound onto TikTok around December, but people didn’t pay much attention to it,” Yuppe shares.

“We were about to drop another song [“Aklaleki”], but I also wanted to push “Tshwala Bam” because it had so much potential. Then this guy I met through TikTok combined the video [of the three guys dancing] with the sound and, boom, it was magic.”

Thereafter, social media users started discovering and resharing the updated video. The song stuck and grew enormously as the clip became famous, and people started using the sound to participate in the challenge. Since going viral on TikTok, the sound (both original and official) has amassed 7 billion views and 5 million creations on the platform. On streaming platforms alike, the club banger has reached unprecedented milestones. In just over one month since its release, the infectious song has amassed 14 million combined views on the audio on YouTube. It has surpassed 15 million global streams on Spotify—making it the fastest Amapiano song in history to achieve this feat. The mega-hit track remained at the top of the streaming giant’s daily and viral charts for over 45 days consecutively. With over 5 million streams on Apple Music, it has reached the apex on the DSP’s all-genres charts in South Africa, Tanzania, Mozambique, Angola, Zimbabwe, eSwatini, and Nigeria—becoming the first South African song in three years to reach the peak of the highly competitive chart, the last song being Focalistic & Davido’s “Ke Star (Remix).” 

There have been momentous uptakes in charts outside the continent as well; the U.S., the U.K., and Germany are in the top five streaming countries for the monstrous track after SA and Nigeria on Spotify. It has also landed some impressive Spotify’s Viral and Shazam charts positioning in countries such as France, Netherlands, Switzerland, and Canada. The anthemic song debuted on the Billboard U.S. Afrobeats Songs charts at #26 and joined Tyla’s “Water” as the only South African song to land on the renowned charts in its first week. It went on to peak in the top ten. On the other side of the Atlantic, “Tshwala Bam” debuted at #3 on the UK Official Afrobeats Chart. “It’s so surprising what the song has done,”  Yuppe admits of its success. S.N.E concurs:

“I didn’t expect this to happen because of how the song was created. The vocals were initially rejected, so naturally, I didn’t expect any good or much from them. I had given up on those lyrics and vocals.” 

The track’s universal appeal continues daily as global stars and internet sensations attempt to do the challenge. Its massive triumph adds to the steady growth of Amapiano globally. It solidifies the genre as not just a seasonal, one-mega-hit-song fad in other markets outside of South Africa.

[Featured Image Credits/The NATIVE]

ICYMI: REVIEW: ‘TYLA’ BY TYLA