KEMENA FINDS BALANCE

Posted on by Adeola Akande

A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the joys of creating art, the clarity that powers ‘888,’ and the freedom he found in surrendering to his path. Even though we were speaking virtually, his presence feels steady. He is speaking with the quiet confidence that defines his music–intentional yet fluid, deeply personal yet resonant. Over the years, his artistry has evolved, shaped by a desire for creative independence and the pressures of an industry that often demands compromise.

With ‘888,’ Kemena has reclaimed his space. The project neither chases the mainstream nor rejects it; instead, it exists on its terms, rooted in self-assurance. Across seven tracks, he weaves through stories with a sharp lyrical style and layered production, a testament to an artist fully in tune with his craft. In many ways, ‘888’ feels like an arrival—not to the commercial peak the industry might expect, but to something more valuable: a place of artistic certainty.

Standout tracks like “Rainy Day” and “Bola” remind you that Kemena is a storyteller in more ways than one. On “Rainy Day” he flexes his production prowess but the summery vibe of the song does not blunt the sentimentality of his lyricism. With “Bola,” Kemena taps into his element, deploying witty puns and his brilliant approach of social commentary and “I’m not mad, just hungry” is as relatable as it is envy-worthy—to be so intertwined with a lover that they can complete your lines.

Totaling seven tracks with a runtime of 16 minutes, ‘888’ is brief but expansive, a collection of ruminative thoughts, nimble melodies, and declarations of self-assurance. There is no hesitance in Kemena’s voice when he speaks about the album, no lingering doubt about whether he made the right choices, which is the same confidence he’s communicating in “You don’t need me”. ‘888’ is the product of someone who knows who they are and, more importantly, knows that they do not have to prove it to anyone. From the powerful declaration of “I Will Never” to the easy groove of “Evelyn’s Vibration,” the album takes you on a journey. It is a return to himself, a rekindling of the mindset he had before industry expectations clouded his creative instincts. It is also reminiscent of ‘Bond,’ the project that first put him on the radar of music lovers.

“I made ‘Bond’ as a student,” he reflected during our conversation. “I wasn’t trying to be anything. I just wanted to make music. And then all of a sudden, people started calling me—people I never expected. That was how I got into songwriting for other artists. But somewhere along the line, I forgot what it felt like to make music just because I wanted to.” When I asked him how he found his way back, his answer was certain: “I stopped overthinking. I just made what felt right.”

Our conversation, lightly edited, follows.

‘888’ just dropped. How are you feeling?

I feel cool. It’s been nice. I feel like a celebrity, to be honest. I’ve done a couple of interviews already, and I feel like I’m saying the same thing over and over again. But that’s a good thing, right?

‘888’ feels different from ‘Guitars and Malaria.’ Did you approach this project differently?

‘888’ feels like me making music the way I want to again. With ‘Guitars and Malaria,’ there were a lot of industry conversations and people saying, “Work with this guy, collaborate with that person, do this to make the music more commercial.” I don’t regret making that album, but looking back, I think I was trying to fit into something instead of just being myself. I wouldn’t say I lost myself completely but, I lost the balance between the business and my authenticity. I started to feel like my music wasn’t valid unless it was getting industry attention. And for a while, I was chasing that. I was doing what I thought I should be doing, instead of what I wanted to do. I had to learn that I’m probably a project artist. I needed to stop feeling like my music wasn’t enough just because it wasn’t ‘blowing up.’

I started thinking about why people liked ‘Bond’ and, back then, I wasn’t overthinking it. I was a student just making music because I loved it. I wasn’t trying to force anything. But then, suddenly, things started happening—I started getting calls from people I never expected. That’s actually how I got into songwriting for other artists. People in the industry heard ‘Bond,’ reached out, and asked me to write for them. And before I knew it, I was deep in that world. But in the process, I started to forget what it felt like to just make music for me.

Was there a specific moment that made you realize you needed to return to that authenticity?

Yeah. At some point, I just stopped overthinking. I realized [that] I didn’t have to prove anything to anyone. I didn’t have to chase industry validation. I could just make what felt right. That’s where ‘888’ came from.

One of the things that stands out about your music is how it feels both deeply personal and universally relatable. Do your lyrics come from lived experiences?

Not exactly. I think the way my music is put together—the energy, the emotions—is influenced by what I’m going through at the time. But the actual content? Almost none of it comes from my personal life. I don’t write songs like, “Oh, this happened to me, let me put it in a song.” Instead, I take a feeling, a perspective, or something I’ve observed and build a fictional story around it. I also like humor. I like to be witty, to play with words in a way that feels natural but unexpected. That’s always been part of my music.

That makes sense. Your lyrics often have a layered meaning like they say one thing on the surface, but there’s a deeper story underneath.

Exactly. I like to phrase things in ways that make people stop and think. I want someone to hear a line and go, “I’ve thought about this before, but I never knew how to put it into words.” Or sometimes, I just want the music to feel good. It doesn’t always have to make sense, it just has to resonate.

Would you say that’s why artists like Omah Lay and Jon Bellion resonate with you? Because they do something similar with their songwriting?

Yes! Jon Bellion especially. His music is almost like sermons sometimes. He says things in a way that makes you pause and reflect. Like in “Conversations with My Wife,” when he sings, “What if all the things I’ve done were just attempts at earning love? Cause the hole inside my heart is stupid deep” That’s the kind of songwriting that gets to me. That’s such a simple way to express love. He could have said it in a hundred different ways, but he chose that one. That’s what I admire. Not just what they’re saying, but how they say it.

That approach is very present in your music, especially in ‘888.’ What’s your favorite lyrical moment on the album?

It’s a conversation. It’s not one person talking. On ‘I will never,’ there’s this part where one voice says, “The things you want for me, I want it too. The things you like for me, I like it too.” And then another voice—almost like a god-like figure—responds: “Hope you know that I would never say something I don’t mean.” That moment feels special to me. It’s basically a prayer, but I don’t like to box my lyrics in, I keep it open-ended.

With the album it feels like you weren’t just making music but you were reclaiming something. Would you say this project is a turning point for you?

Yes, I think so. It’s not my first turning point, though. ‘Bond’ was the first one. ‘Bond’ was the project that put me in rooms I never expected to be in. Before that, I was just a student making music. Then, suddenly, people were calling me—people I respected. That was how I got into songwriting for other artists. But then, in trying to navigate that world, I lost a bit of myself. ‘Guitars and Malaria’ was me trying to find that balance, and ‘888’ is me realizing that I don’t have to balance anything, I just have to be.

You’ve mentioned that you’re at peace with not chasing commercial success. Is there a part of you that wants mainstream recognition?

If it comes, great. But I’m not going to force it. I know how the game works. I’ve written for big artists, so I know the kind of songs that work in that space. And if I wanted to, I could sit down and make those songs. I could make music that fits neatly into what’s trending. But that’s not why I do this.

Does songwriting for other artists help you keep your music pure?

Yes! That’s a big part of it. Since I also write and produce for other artists, I don’t have to rely on my music to pay my bills. That takes a lot of pressure off. It means I can release what I want, when I want, without thinking, “Will this chart? Will this go viral?”

That freedom must be refreshing.

It is and it’s why I don’t overthink my releases anymore. I’m constantly creating. So when something feels ready, I put it out. I don’t have to wait for industry validation or the “perfect” timing.

What does that mean for the future? More projects?

A lot more. I’ve realized that my way forward is to just keep giving. The Lord has put me in a position where I can create without stress, so that’s what I’m going to do. No long breaks. No holding back. I’ll just keep releasing.

What is the biggest takeaway from ‘888’ for you?
That you don’t have to force anything. Whether it’s love, creativity, or success—what’s meant for you will come when you’re aligned with yourself. And if you have to fight too hard to keep something, maybe it was never really yours to begin with.

Review: ‘Best of Both Worlds’ by Kel P and Wande Coal

 

Listening now to ‘Mushin 2 Mohits,’ Wande Coal’s landmark 2009 release and only album with Mo’ Hits Records, it’s clear to see how this classic debut became arguably the most influential Afropop album of all time. At the time of release, this sleek, urbane, heavily synthesised masterpiece shared little ground with its contemporaries. The album merged stadium-sized hits (“Bumper To Bumper,” “Who Born The Maga”), sweeping ballads (“Ololufe”) with raw and uncompromising sonic experimentation – thanks to production mogul Don Jazzy – in a way that was uncommon prior to its release. Wande Coal’s lyricism, rhythmic knowledge and seamless fusion of local and foreign influences were also revolutionary at the time, expanding the parameters of Pop music in Nigeria and creating a unique style that serves as a blueprint for many to this day. 

Almost 16 years later, Wande Coal has yet to hit the heights of his classic debut. It’s well documented at this point: a hostile split from the now-defunct Mo’Hits Records meant that his lukewarm sophomore ‘Wanted’ wouldn’t arrive until 2015, seven years after the release of ‘Mushin 2 Mo’Hits.’ And while the long-awaited follow-up album featured moments of brilliance on a few zippy records like “Ashimapyein” and “Monster,” it was bogged down by a bloated tracklist that lacked the focus and innovation of its predecessor. Subsequent releases, however sporadic and polarizing, have also lacked the spark that famously earned him the Black Diamond moniker many years ago. While the veteran singer still retains his mastery of melodies and a one-of-a-kind voice, his mercurial nature over the past decade or so has forced a resignation that he might not be able to rediscover the magic of his epochal debut. 

His latest project ‘Best Of Both Worlds,’ a low-stakes late-career collaborative EP with GRAMMY Award-winning producer Kel-P, is arguably his sturdiest release in years. Unlike ‘Realms,’ which was anchored by “Again,” his biggest single in recent times and his third studio album ‘Legend Or No Legend’ which featured heavy hitters like Wizkid, T-Pain and Olamide, ‘Best Of Both Worlds’ arrives with little promotion and no additional guests. It’s just Kel-P and Wande Coal finally capitalizing on a long-simmering artistic connection that began years ago.  

Even with a lean tracklist and a short runtime, it’s clear that ‘Best Of Both Worlds’ is the product of a shared musical synergy that only comes from a place of deep and constant creative practice. “Wande Coal and I met in 2019 and made one song. Then we didn’t see each other for a while, and when we saw each other again, we just began to record music together again. We caught a vibe, and never knew we’d be making a body of work or an album – we were just making music,” Kel-P said in a recent interview, explaining how the project came together. 

Through the EP’s 5 tracks, Kel-P provides refined, groovy beats – replete with lush piano chords, his signature percussive elements and clean guitar riffs – creating an atmosphere that accentuates the veteran singer’s pristine harmonies and vocals. ​​On the title track, Wande Coal switches through multiple melodious flows over buoyant percussion and a funky guitar loop that begs for some dance moves. “18 years in the game I no tire tire / Na why the young boys them dey copy my entire” he sings cockily, reminding everyone of his luminary status. 

On “Old Soldier,” the upbeat lead single released in late 2024, Wande Coal flexes his vocal dexterity while reinforcing his tenacity as he repeatedly sings the popular Yoruba adage “Old soldier no go die unless to ba di arugbo” on the single’s sonorous hook. “Ejo,” the EP’s lush and seductive centerpiece fuses Afropop and R&B to great effect. Kel-P’s production here is sparse, leaving ample room for Wande Coal’s sultry flow and lyricism to shine. On the breezy closer “Die For You,” Wande Coal’s falsetto and sticky sweet nothings effortlessly float over Kel-P’s drums as he performs with a clear-eyed brilliance that brings to mind some of the singer’s finest ballads. 

With a tracklist of just 5 songs, it’s difficult to make a case for ‘Best Of Both Worlds’ being Wande Coal’s best work post ‘Mushin 2 Mo’Hits.’ However, what ‘Best Of Both Worlds’ lacks in length and perhaps sonic experimentation, it makes up for in dexterity, focus and cohesion, qualities that have been lacking in some of the veteran’s last few projects.

 

Afropop is the love child of its many influences

Posted on by Wale Oloworekende

Over the last two and a half years, some of Afropop’s biggest stars have denounced the genre to advance their personal agendas. In a wide-ranging interview from 2023 with Apple Music’s Zane Lowe just ahead of the release of his last album, ‘I Told Them…,’ Burna Boy derided Afrobeats for a perceived lack of contextual subject matter. “Afrobeats, as people call it, it’s mostly about nothing, literally nothing,” he said. “There’s no substance to it. Nobody’s talking about anything. It’s just a great time, it’s an amazing time. But at the end of the day, life is not an amazing time.” 

Just a few months later, Nigerian music superstar, Wizkid, also disavowed the genre, claiming that he was not an Afrobeats act and that his then-forthcoming album, ‘Morayo,’ would not be an Afrobeats album as he considered the genre – and the classification it infers – too limiting for the type of music he made. Predictably, fans were incensed by both artists’ stances and the casual dismissal of the genre that their statements invited. What was almost lost in the whirlwind of that discourse is that for all the attempts to capture the totality of African music under the loaded ‘Afrobeats’ label, African music has never been just one thing; and, in that spirit, Afrobeats itself has always been all-welcoming of a multiplicity of influences and styles.

From its earliest iteration, Afropop has always been a potpourri of sounds that took influences from various parts of the Black diaspora and distilled them with an African sensibility. The work of early Afrobeats pioneers like Junior and Pretty is a direct descendant of the burgeoning Hip-Hop blueprint of the ‘80s; while the early 2000s popularity of Ajegunle-based rabble-rousers like Daddy Showkey, Danfo Drivers, and African China occurred tangentially to the rising profile of Reggae on a global scale. The mid-2000s to early 2010s saw the arrival of several dulcet-toned singers like Banky W and Tiwa Savage rooted in the R&B and Soul traditions, introducing a slicker dimension to Nigerian popular music. As always, homegrown stars adapted these foreign styles for their own market while continuing to work on a distinctive style that centered genuine indigenous expression and ingenuity. 

Over the years, the fruit of those experiments has ripened to produce a scene that’s bustling with life and talent. As the genre has attained global attention, many sub-genres have come to the fore, showcasing the depth of African music on a global scale. If Wizkid’s sonorous melodies and unbeatable charisma made him the sun of Afrobeats in the 2010s, Olamide’s militaristic bars and Pop anthems rooted in their street sensibilities mark him out as the genre’s moon. It was on Oamide’s back that a nascent indigenous rap circuit rested. Taking the mantle of DaGrin, the Bariga-raised rapper who helped institutionalize rapping in Nigerian languages with cult classics like “Eni Duro” and “Voice Of The Street.” Along with the effort of other stars like Reminisce, Phyno, Lil Kesh, and CDQ,  the indigenous rap movement gained steam and, recognizing the Nigerian market’s zest for melodies, soon morphed into Street-Pop, a distinct hybridization of local genres like Fuji, Apala, and Highlife. 

Inspired by the work of their forebearers, a new crop of artists have taken Street-Pop to new heights. Zlatan and Naira Marley served as a transitory generation; together with Rexxie, they patented a more melodic take on Street-Pop while infusing a devil-may-care disposition that launched them to the top of Nigerian music. It is fitting that Olamide was the one to hand the baton to Asake, the biggest Street-Pop star of the moment. Similar to the YBNL head’s legendary album run, Asake has released three albums and one extended play in three years, each coming out to a world paying more and more attention to his work. Impressively, Asake has also established himself as a global touring star, regularly playing sold out arena concerts across the world with a music style that is rooted in Yoruba oral tradition. 

Asake is not spreading the Street-Pop gospel alone, though. Ikorodu star, Seyi Vibez, has also grabbed mainstream attention for his gritty take on the genre. Initially a divisive figure, his 2023 song, “Different Pattern,” saw him reach a new level of cultural relevance in 2024 and his new extended play, ‘Children Of Africa,’ arrived in February 2025, marking a new era in his career. The yearning for a reclamation of cultural heritage that has created a Street-Pop golden era has not evaded other parts of Nigeria. Shallipopi’s drawling, sprawled-out sound mimics the playful pulse of South-South pidgin while Jeriq, hailing from Nigeria’s South-East, has emerged as one of Nigeria’s most acclaimed rappers. Outside Nigeria, there’s a yearning in Ghana to preserve the purity and history of its Highlife genre, an elemental component of Afrobeats. British-Ghanaian producer, Juls’, ‘PALMWINE DIARIES’ and ‘High Life Sessions,’ both pulsate with the beguiling riffs of the storied genre while the work of Nigerian brother-duo, The Cavemen, is reintroducing Eastern Nigerian highlife to a new generation of listeners. 

A youth-led zest for exploration outside the framework of Afropop has also produced a sub-culture that rejects the tenets of mainstream conservatism. Beginning as a band of friends and collaborators who prioritized freewheeling experimentation, Alte music has emerged as one of the most important sonic evolutions of the last two decades. First championed by OG pioneers like DRB Lasgidi, LOS, and Show Dem Camp, the Alte community drew in left-field thinkers and madcap auteurs setting the stage for a new generation of stars to emerge from the depths of SoundCloud circa 2016. In the hands of stars like Odunsi (The Engine), Cruel Santino, and Lady Donli, the Alte experiment reached an unprecedented level of critical and commercial success. 

Odunsi’s ‘rare.,’ throbbing with influences from ‘70s Disco and Funk, sits in the canon of great Nigerian debuts and Lady Donli’s ‘Enjoy Your Life’ artfully melded Folk music with Afrobeat and Soul across its 15 tracks. Taken along with the work of producers like GMK and Genio Bambino, these acts built a community that successfully created the blueprint for a sound that reflected the tensions and joys of younger Nigerians who saw life in a specific fashion. It even took flight beyond the borders of Nigeria with a young Amaarae cutting her teeth working alongside some of the most prominent names in the Alte community. The inventiveness and clarity of vision that the community prioritises is evident across both of the Ghanaian-American artist’s albums, ‘The Angel You Don’t Know’ and ‘Fountain Baby.’ 

In a reversal of events at the turn of the 2000s when Afropop was heavily influenced by outside sounds and genres, music from the continent is profoundly reshaping the texture of music outside its borders. Much like how the Windrush Generation and other immigrants from the West Indies helped to introduce Britain to Reggae, Dancehall and Soca, generations of African immigrants are making music that signals their African heritage, with Afropop as a base influence. The rise in popularity of African sounds has helped UK artists mesh the lingo and sonics from the continent into their work, creating a new genre referred to as Afroswing. Taking influences from Afrobeat, Dancehall, and Grime, Afroswing is distinctive for its use of lyrics from Africa with British rapper, J Hus, credited as one of its pioneers. Songs like J Hus’ “Did You See,” Ramz’s “Barking,” and Not3s’s “Aladdin” signal to the sound of the homeland and speak to Afrobeats’ incredible stride to global popularity as a base reference point for global Black music. 

Nearly a decade out from “One Dance,” the Drake, Wizkid, and Kyla collab that pushed Afropop into a different stratosphere, the genre is in safe hands with several stars emerging across different sub-genres that speak to our past, present and future. It is perhaps more than the pioneers imagined when they were making music all those years ago, but all the roads have led here to Afropop being a global sensation that offers various forms of expression to a watching world. There are no limitations on what can be done within the genre, that sense of open-endedness and possibility was always our strength, and it’s why Afropop will stand the test of time. 

Review: “I Am The Blueprint” by Qing Madi

 

Before Qing Madi’s debut album was even on the horizon, she had already begun crafting her professional narrative, preparing whoever cared to listen for the fact that she is a Pop star per every sense of the word. “I always feel like I’m that person. I know I’m special, the type of music I make is special,” she said in an interview from January. Blessed with the right foundations – grooming by a mother who was strongly aware of the gift bestowed upon her daughter, enrolling her in ballet classes and fixing her in the choirs of the various churches they attended – along with an unwavering dedication to her larger vision, she has worked her way into the conversation of Afropop’s most talented rising stars. 

Hailing from Africa’s most populous country where the air is constantly charged and the people heavily constrained by socio-economic failings, seemingly unattainable dreams, uncertainty and hopelessness, it is rare to find a 17-year-old girl taking a seat at a table reserved for the small percentage of people who make it, especially in a challenging industry like Nigerian music.  But that was what Qing Madi set about doing: when her debut single, “See Finish,” hit the airwaves, there was a freshness to her sound, which leaned into R&B and not the regular upbeat Afrobeats sound ruling the mainstream charts. The reception to the single was every indication that another young superstar was on the rise.

If there’s one thing about  Qing Madi, every step she takes is calculated – and her first album was going to be her statement to the world, reiterating the charm and fire powering her idiosyncrasies. But she didn’t just jump into it. After her debut single, a sophomore record “Why” gained her a burgeoning fanbase for speaking on bullying, a topic affecting a large number of teenagers. She was nudged further into the mainstream when “Ole” featuring Bnxn arrived. It was the biggest step yet on her methodical rise to the pinnacle of Afropop and arguably one of the best collaborations of 2023. The vision became clearer with her eponymous debut extended playlist, ‘Qing Madi,’ accompanied by a deluxe, home to the Chloe Bailey feature on “Vision Remix.”

A lot has changed for the now 18-year-old star since then. Her previous releases reflected a somewhat unclear stance on her persona, exposing a gap between her perceived abilities and her embodiment of the title of Afropop’s’ youngest rising star. For instance, 22-year-old Ayra Starr’s signature appeal lies in her emphasis on age. It’s almost impossible to encounter Ayra Starr without being reminded of all she has accomplished at such a young age. Qing Madi, on the other hand, emerged onto the scene even younger than Ayra, yet this fact isn’t often emphasized—it’s almost as if she’s hesitant to claim the title. A perfect opportunity to reinforce her presence would have been riding the momentum of   “Ole,” to capitalize on the head-bopping “American Love” or the smooth synergy with Joeboy on “Adenuga,” and her immaculate delivery on DJ Neptune’s  “Honest.” 

Nonetheless, “I am the Blueprint” sees her far away from the hesitation, unearthing a far gutsier, more audacious energy. On the record — a solo effort with zero features — Qing Madi is bold, daring, self-assured and more than ready to conquer the world. It’s an energy that animates much of the songs on Blueprint, starting as soon as the intro comes on. “I know that I am destined. I gat all the potentials that they tell me…Sebi I can be what I want,” she sings on the mid-tempo JAD OH-produced record.  It is followed by a hankering for the Grammys at the top of her bucket list, reflecting the dream of one determined to leave her mark. 

As one would expect of a star her age, Qing Madi’s forte lies in her unending quest for romance, previously explored on  songs like “Ole” where she unfurls intrepid desires and lusts over another person’s partner; or the adventurous musings of a teenager drunk in love on “American Love,” or in the charged thirst for a blooming sex life with a lover on “Chargie.” In her short career, the singer has mastered the art of  wooing a love interest,  wholeheartedly leaning into one of the quirks of youthful exuberance and enjoying the intoxicating rush of love. With Qing Madi, the tingly feelings of having a crush take on a very intense form, while the music built around that feeling becomes a wholesome kind of group therapy thanks to her golden voice and gift for distilling the minutiae of those feelings into dance-ready anthems. 

On “Ali Bomaye,” Qing Madi is in her most passionate element, likening the mood to the charged moment between boxer Muhammad Ali, George Foreman and a revved-up audience edging Ali to take out his opponent. But she doesn’t mean this in a bad way. Instead, she sings happily, “You dey knock me off my feet like Ali Bomaye.” The song is enlivened by the  thrumming of  Prestige’s production, accentuating the warring ethos of this track. “Akanchawa” follows the same love path but her approach is straightforward, with no detours, just pure, intense affection. She remains steadfast in“Garden,” a song about wooing a lover. “A minute with me in the garden. So, won’t you gimme just one chance, chargie? Oh-ooh, see, I’m promising you nothing. Drop your doubts, and drop ’em farther,” she sings. The chorus is lush and moving, the kind that sticks with you after the first listen.

But it’s not always rosy in Qing Madi’s world. As much as love is a leading theme in most of her songs, she doesn’t shy away from being openly vulnerable about the pain that can hide between the cracks. Her debut single “See Finish,” was inspired by a debilitating friendship breakup; “Why” explored low self-esteem and bullying; and “Madi’s Medley” focused on depression and the aftermath of a harrowing betrayal. It gets even more intense on ‘Blueprint.’  

On “Feeling Alright,” she acknowledges the strains of survival, especially as a young woman in an often unforgiving industry: “On the grind you go sabi your place. This place woman dey turn to men.” It is a deeply introspective moment on the album where she directly confronts the reality of her journey. Then there’s heartbreak: “Damn It All” paints a vivid picture of betrayal as she sings, “If you let a man come close one time, e go drag your own… Damn all the time I dey play Mr nice guy.” 

The disappointment lingers in “It’s a Game,” where she questions her lover’s recklessness over a soulful instrumental: “How do you sleep at night? Now you know that everything you do affects me. Why do you act so wild, babe?” It’s a maturity that reveals itself in layers, showing that Qing Madi is not just about the love highs, but she has also experienced the lows of letting her heart yearn for companionship. Her vulnerability peaks on “Pressure,” where she casts all her despair on God, hoping she finds some comfort in the divine: “But the pressure, e wan dey killi me now. E wan dey killi me now. Holding Your hands, Lord. Make I no drag me down,” she soulfully sings. It is a raw, open plea that reveals the weight she carries as a young star navigating the wild world of superstardom. 

Despite the daunting agony that plagues these records, the popstar still finds a way to bridge the pain and deliver stellar mainstream bop on “Goosebumps” and “Favorite Psycho” a current TikTok favourite among her most loyal fanbase, and where her fame snowballed. Tuzi’s production prowess shines on the former as Madi’s vocals seamlessly float over the Bass guitar. The latter’s appeal comes from the “shey your body don see wetin you dey find since” line that has somehow graduated to a trendy humorous meme for the result of stubbornness in various relatable situations.  

When it seems like the journey is coming to an end, she solemnly approaches the PD produced “Right Here,” with sheer honesty and motivating clarity. “The money is not as peaceful, but I pray for you to have it,” she sings. She’s also keen to dispense some wisdom from her journey: “Popping bottles and doing drugs can be distracting. Focus on the needed and believe you gon have it all.” It is the final stamp on her story, the closing statement of an opening salvo from a young artist who has found her voice, her confidence, and her path. ‘I am the Blueprint’ is Qing Madi’s declaration of a refined identity fusing youthful exuberance, heartfelt storytelling, and the audacity to dream beyond boundaries. She is carving a legacy, and if this album is anything to go by, she is well on her way to becoming the very blueprint she claims to be.

Togo YEYE & VLISCO’s new collaboration is a celebration of Lomé’s thriving creative scene

Posted on by The Native

Togo YEYE, a creative duo formed by Lomé-based creative director Malaika Nabillatou and London-based photographer Delali Ayivi, is a conceptual publication that was created to empower and champion Togo’s young fashion creatives. Since its inception in 2021, Togo YEYE has released several personal projects and has also partnered with a number of brands to further its hugely imaginative aesthetic mandate. For their latest collaboration, Togo YEYE teamed up with textile printing company VLISCO to present Blossoming Beauty. Tagged as a love letter to Togo’s creative community, the campaign captures Lomé’s scenic beauty alongside VLISCO’s vibrant prints with the aim of connecting the feminine grace of nature with identity and artistry.

 

 

What does Togo YEYE mean?

Malaika Nabilatou: My name is Malaika Nabilatou, I’m the creative director of Togo YEYE. I’m Togolese and I was born and grew up in Lomé. I see myself as a West African creative director and I’m working to be the best in a few years. Togo YEYE means new Togo in Ewe, one of the most popular languages spoken in the South of Togo.

What inspired you to create Togo YEYE?

Malaika Nabilatou: We started this project, my friend Delali and I, 5 years ago. We just wanted to show that Togolese youth are also creative. Togo YEYE is a community we are building for us by us. It wasn’t just a project for Delali and I. It’s become something for the creative scene of Lomé. Lomé is like our studio.

 

 

What role does Togolese culture play in your creative process?

Maryline Bolognima: For me, Togolese culture comes first. For example, in the South, there are the people of Anero. If you come, you can go to Anero. In the North, there are the Evals, so if you come to Togo, you’ll learn a lot.

What’s the most exciting part of working as a team on projects like this?

Malaika Nabilatou: I need to tell the truth, we dreamt about this campaign before [it happened]. When VLISCO contacted us, we were like wow. I can’t really explain how thankful we are to VLISCO for trusting us. Because it’s a risk that they took by trusting us, making that campaign here with our team and honestly we are going to keep it in our hearts for the rest of our lives.

 

Claudia Sodogbe: For me, it is the first big contract of my life that I had with Togo YEYE. I still remember, on the last day of the shoot, I was feeling nostalgic about separating from the teams and the others. It went well in any case, and I’m very grateful to have been on this project.

What has been your proudest moment as part of Togo YEYE?

Malaika Nabilatou: I think the proudest moment I had with this campaign was when I saw the result first on the website. When I saw the story, I was like “wow, we finally made it.”

The Cathartic Melodies Of Mereba

Posted on by Boluwatife Adeyemi

Mereba exudes a palpable warmth. When she speaks, as she did with me via Zoom one evening in late January, she’s gentle and perceptive, speaking in soft, meandering passages that paint an intimate portrait of the LA-based singer’s mind. Similarly, her stirring discography, which dates back to 2013, evokes a keen sense of serene intimacy. “I’m inspired by those little moments in life where you’re like “Ah that’s really beautiful,”” she tells me halfway into our conversation, making sense of the ethereal quality that her music possesses. “It could be an interaction between two people, it could be something in nature, it could be a memory I have. Those are the moments that drive me to go get my guitar and write a song.”

The 34-year-old singer, songwriter, producer and instrumentalist has been writing songs for as long as she can remember. Growing up between Alabama, North Carolina and Pennsylvania, as well as an unintended one-year stint in her father’s native Ethiopia, ensured that Mereba picked up a wealth of influences that would go on to inform her richly diverse and understated sound. After years living across multiple cities, she finally settled in Atlanta where she became a staple in the city’s indie music circuit. “There, I met my peers who I made music with and are still my peers to this day. People like J.I.D, 6LACK and my crew. We all were just coming up during a really rich time of music there so that was a big part of my journey,” she reminisces fondly. 

In the years that Mereba lived in Atlanta, she released 2013’s ‘Room For Living’ and ‘Kotton House Vol 1,’ two extended plays that neatly outline the foundations of the balmy and eclectic style that she would perfect years later, leaving ample room for her soothing vocals and evocative songwriting to shine. She also joined Spillage Village, a musical collective that comprises others like Earth Gang and JID, contributing to various releases like ‘Bears Like This Too Much’ and the critically acclaimed ‘Spilligion.’ Following her time in Atlanta, Mereba moved again, this time to Los Angeles, where she signed her first major record deal and released her debut album ‘The Jungle Is The Only Way Out.’

Since the release of ‘The Jungle Is The Only Way Out’ in 2019, Mereba has continued to hone her unique sound, continually experimenting and ironing out the rich textures of her temperate style on subsequent releases like 2021’s ‘AZEB.’ Ahead of the release of ‘The Breeze Grew A Fire,’ her first project in four years, we sat down with the LA-based singer to discuss the story behind her well-received debut, her various influences as well as the process of putting together her highly-anticipated new album. 

This is your first album in about five years. How are you feeling?

I feel really excited. I’m definitely excited to give my music back to the world again. I’m also ready for connection, performing the songs, and sharing these new stories. 

You’ve been making music for a long time now, but do you still feel any nerves before a major release like this?

I don’t know if it’s nerves. I think I feel anxious about the fact that the music is being released and people are going to hear it. But I guess I’m anxious in a good way for them to hear the music, to get to experience what I’ve been toiling away at and what I’ve been excited about for a while. It’s more like a good anxiety. 

I think the first time I came across your music was in 2019. I heard “Heatwave” with 6LACK off of your debut album ‘The Jungle Is The Only Way Out.’ I believe that album was sort of a breakthrough moment for you. Can you tell me a bit about how it came together?

That album coming together was quite a journey. I started ‘The Jungle Is The Only Way Out’ years before it came out. I had left Atlanta and moved to L.A at this point. I didn’t know so many people when I just moved and so I was kind of starting over in certain ways. I was writing a lot of songs that felt really powerful to me but they were sonically different from what I used to make before. I was also learning how to produce, I was in Ableton learning how to make beats and just produce my music. Because I didn’t know so many people, I couldn’t outsource some of these things so I was just experimenting on my sound on my own.

Over the years, the community that I was a part of in Atlanta, everyone started finding their way in music but we still stayed closely in touch even though I had moved to L.A. I featured on a song with J.I.D and that kind of got me back into making music properly again because at that point, I was working random jobs, my car got taken and I had to start taking the bus to work. I was living a completely different life. It was my friends that put me back in the zone. They would invite me to sessions and just remind me that I wanted to do this music thing. Then I started putting together songs I had made over the years like “Sandstorm” and “Heatwave” with 6LACK which we made way before the album came out and even my solo songs like “Black Truck.” Most of the songs on that album had come from that period where I was struggling but knowing I was meant for music somehow. 

How many years did it take to put your first album together?

I’ll say about four to five years. They say you write your first album for your whole life. “Highway 10” is the first song I made on that album. I made that song in 2014 and the album came out in 2019. In the years before the album came out I was signed to a bad record deal and I couldn’t get out, I couldn’t release music. All I could do was just create and that ended up forcing me to just hone in on my sound.

After your debut, you released an EP titled ‘AZEB’ two years later. Listening to that project, it felt lighter than your debut which was a lot darker and more melancholic. Do you remember what headspace you were in when you made this EP?

I was definitely feeling a lot lighter when I was making ‘AZEB.’ I felt like I had shed a lot of the weight that I carried during all those years of uncertainty. I was in a much more hopeful place when I was making one-half of the project. The other half was made during the early days of the pandemic so it was like a mix. Songs like “Rider,” “Beretta,” and “My Moon,” those songs represent beautiful, light type feelings to me while some of the other songs like “News Come,” and “Another Kin” are more intense lyrically and sonically. 

Let’s talk about ‘The Breeze Grew A Fire.’ How did you land on that as the title for your second album? 

The making of that title was different from how I titled my other projects. It didn’t come to me right away and I decided to not force it, I believed it was going to come eventually. So the making of this album has always felt very gentle. In contrast to what I had been through for so many years, I felt like I was in a much softer space creating this album and this feeling of a breeze just kept coming to me. It was also kind of like springtime going into the summer and the idea of a breeze became so prominent that I was going to title the album breeze. But as I continued on the journey of finishing it, it felt like the album was saying something a bit more. I realized that the album wasn’t just about all these gentle feelings and relationships I’m singing about like friendship, family, and my son but these things also inspire me to live with purpose, conviction and to have a spark in me. Things that make people “strong” are inspired by these little moments and experiences that we have and less by the force of trying to make a fire forcefully. 

You co-produced “Phone Me” and “Counterfeit,” the lead singles for this project and you’ve also produced a lot of your older stuff as well. I’m curious to know how taking the reins on the production side affects your music-making process in general.

I got really into producing during that period when I felt lost in life. I got into Ableton, playing the guitar on my computer, sampling my voice and just experimenting. So songs that I produced from ‘The Jungle Is The Only Way Out’ like “Sandstorm” and “Kinfolk,” were me experimenting a lot with learning how to produce. With this new album, the first two singles were heavily produced by my co-producer Sam Hoffman. When he sends me things that I like, I’ll add things to them and it could be the opposite as well where I produce a song and I’ll have him or another friend add something to it. That process is personal because I could completely be in my world and get the feelings that I want to convey out through production as well as writing the song out lyrically. When I unlocked that part of myself, it felt like my whole life that’s what I’ve been wanting to do. To be able to make the music arrangements and compositions come to life. 

A lot of the time I would start with a simple beat or drum loop and I’ll build chords over it with my guitar. I experiment with writing when it’s bare and then fill in the production as I write the song. They’re a very interwoven process. 

I’ve read that you’re heavily influenced by legendary acts like Stevie Wonder and Lauryn Hill. Are there other acts that inspire you when it comes to the production side of music specifically?

That’s a great question. In certain ways, I’ll say it’s the same people that I look up to because most of them produce. Interestingly enough, what I love most about these musicians is that they are very involved in the sonics of the music they’re making. So the people that you mentioned, like Stevie Wonder who mentored me and encouraged me to continue on the path of producing my music versus being a singer who works with a producer. I feel like it’s important to the language of an artist to at least know how to contribute in some way to the sonics of their music. 

I’ll say Quincy Jones is the blueprint for me just because of the span of work that he did. He’s the concept of producer I’d like to work towards in my life.

Do you have a favourite memory from creating ‘The Breeze Grew A Fire’?

There are a few. There was a time when I made this song on the album called “Hawk.” The song is dedicated to a really dear friend of mine who passed away unexpectedly in 2021. It was not easy to write and when I first wrote the song, it was sad, slow and reflective of the whole situation. I listened to it after I made it and I started thinking about my friend and the things that he liked. He was a very expressive and hilarious person who loved dancing and dance music. At that moment a light bulb went up and I felt like the song needed to be more of a dance song because I wanted to make something that he would love and not something he would think is corny. It was a really beautiful moment musically and personally. 

If there’s one thing you would like your fans or listeners to take away from ‘A Breeze Grew A Fire,’ what would it be? 

I hope it brings a sense of comfort and warmth. I also hope it tells a clear story of what matters to me. I just really hope it makes people feel better, that’s really it. I think it’s one of those albums where it’s a personal album for me and I think it’s meant for personal moments too. I hope it lives in people’s lives in comforting ways.

Listen to ‘A Breeze Grew A Fire’ here

Is the “Mr Money” era over?

Posted on by The Native

Asake broke the internet when he unveiled his new tattoos earlier this year, and he’s doubling down while ushering in the GIRAN Republic era. On “Military”, Asake ditches the log drums & Amapiano-inspired beats that paved the way to his rapid ascent to stardom. Rapping over stripped back production dominated by a live drum loop, he picks up where he left off sonically on ‘LUNGU BOY’, drawing inspiration from his Hip-Hop influences, as he delivers a defiant, heartfelt battle-cry to his fans and doubters alike.

For the last few months, rumours have swirled around Asake on the gossip blogs, on everything from who he’s dating to his record label situation to his physical appearance, with fans, critics and disgruntled ex team members all throwing in their two cents. Since his emergence in the limelight, Asake has been a man of few words – we should know, we did his first ever magazine interview back in 2022. But on this track, he addresses the chatter head on, opening the song dismissively rapping “ Awon lo lenu won koma so lo/ Tio ba affect bank me, ko ma soro” loosely translated to “let them keep talking, if it doesn’t affect my bank account, there’s nothing to say”. He goes on to flex his financial muscle above everyone in his “set”, despite being “low-key”, while affirming he could drop an album tomorrow with no tracklist, and it would still slap. 

He takes a break from the braggadocio between verses to directly shout out his mentor Olamide, the man who gave him his big break. While it does appear their business relationship may have run its course, the mercurial artist is making it clear he remembers how he got here. The Asake & YBNL run will be studied for years to come. In the midst of the continued rise in global consumption of Nigerian music, Asake hilariously raps “Oyinbo koro lenu mi”, a reminder that he will not be diluting his sound for the benefit of our friends in the West. 

Quietly dropping the track exclusively on YouTube & Audiomack a couple of days after the 2025 GRAMMY ceremony, in which he was nominated for the second year running, this response may have gone over the heads of those who lurk in the comment sections of the gossip blogs. But it is the most Asake response we could have expected, isn’t it? On his own terms, in his own native tongue, he pulls no punches as he ushers in a new era of independence.

This morning, Asake released another record, the Magicsticks-produced “WHY LOVE”,which notably comes under his new imprint Giran Republic. Reverting to a more familiar sonic cocktail of pulsating log-drums and choral vocals, he sings melodiously,“You know I’m a Soulja boy, but in your case, I’ll calm down.” The duality of man. 

The rumours will keep swirling and people will keep talking, as they tend to do when you reach the heights the Lungu Boy has soared to. And for all the aesthetic change and talk of a new era, it appears Asake is going to continue to do what he has done more consistently than nearly every artist in Nigeria since his mainstream emergence in 2022: drown out the noise with new music.

 

 

Inside The Parties Breathing New Life Into Lagos’ Nightlife Scene

Posted on by Great Opara

The crowd marches along on the dancefloor, vibrating to a pulse that is both familiar and electrifying. It takes a second to identify Grammy nominee, Rema’s “Ozeba,” pouring out of the speakers and whipping the crowd into a frenzy as it takes on new life as a turbulent EDM track. The crowd growls and screams in approval of the DJ’s remix, yet another banger in a night filled with back-to-back hits. Hands in the air, sweat dripping from glistening bodies, smoke floating around the dancefloor and young people gyrating with reckless abandon, Element House provides the people with the release they deserve and they reward it with an undying loyalty to its rhythm and raves as they keep coming back.

Party culture has taken on new dimensions in Nigeria over the last two decades as a reaction to economic, social and cultural progressions. This evolution of the way we party is significant considering that Nigeria is a society that lays heavy emphasis on certain accepted standards of moral behavior, rooted in culture and tradition. But that has never once stopped a good time from happening. Millennials and older gen-z will remember the street parties and carnivals of old, usually held at the end of summer holidays or in December, where music by TuFace, Mo’Hits, Akon, Shakira, Lady Gaga and 50 Cent were the staple, among others. There were certain songs automatically expected from any DJ worth his salt otherwise it was not too far-fetched to see a DJ, with his equipment on his head, fleeing for his safety while being chased by an irate mob of partygoers. 

The more things change, the more they stay the same. These carnivals and street parties might have been phased out but the idea remains the same while the power and influence of communities powering party culture in Lagos and Nigeria at large has only gotten stronger, especially with the advent of social media. The Block Party series–started in Lagos, Nigeria as the Mainland Block Party–has become the go-to event to celebrate youth culture and foster connections that cut across multiple African cities and walks of life. Today, with curated events in Ibadan, Abuja, Lagos, Accra and others, a community of partygoers is assured maximum enjoyment whenever the Block Party organisers announce an event in their city of the month. The people will always return to where their tastes are catered to, bringing along friends, family and newbies eager to bask in the atmosphere of loud music and togetherness.

In 2012, Warner Bros. Pictures released Project X–a film that follows three friends and high-school students who attempt to gain popularity by throwing a party which ends up escalating out of their control and reaching epic proportions. This idea propagated by Hollywood would go on to influence several house parties thrown in Lagos during the mid to late 2010s. The idea that with the right DJ/music playing at the right venue and with just the right crowd, then immortality was possible–a party so grand that it would be spoken about in glowing terms for years to come until it became lore. Today, house parties are more intimate and controlled, the degrees of separation between attendees reduced by a mutual friend or WhatsApp group they all have in common. From game nights to karaoke sessions to kinky sex parties, whether it’s at Balloons & Cups, a Vogue Boys pool party, or a get-together by the ‘Lagos on a Budget’ IG Community, the role house parties play in the ever evolving party culture is not insignificant, creating a pipeline that feeds into the much larger raves which weekends in Lagos are becoming synonymous with. 

Whether it’s Element House today, Mainland House tomorrow, Group Therapy next weekend, WIRED or a host of other house and EDM inspired movements, partygoers are spoiled for choice when it comes to where to indulge their fundamental music tastes in a secure and controlled environment. Nothing is off the menu and a good time is the only badge of honor worth collecting. The increasing popularity of the rave movement in recent years is testament to the fact that it works for both organizers and attendees. The Covid-19 lockdowns changed the way Nigerians party; after months of being isolated from their communities and having to socialize in more intimate and private spaces, it’s no surprise that raves, with their underground nature, became the outlet of choice for several young people as soon as the world opened back up. According to Tonia, a medical doctor and frequent raver living in Lagos, her first few times at parties following the end of the lockdowns were not fun. “I was partying with caution, wearing face masks constantly and carrying hand sanitizer around. It became a much better experience subsequently when everything relaxed and soon enough, I was back enjoying the time of my life at Lagos parties.”

Unburdened from the heavy spending, bottle-popping culture that characterizes Lagos nightlife and cloaked in the embrace of judgment-free anonymity and numbers, raves have become a safe haven for a community of partygoers determined to turn up in the midst of the sheer craziness of living in this day and age.  For Michael-Peace, a brand & creative assistant and frequent raver, the appeal goes beyond a need to unwind and the feelings of peace he experiences at raves. “Whether I’m listening to the DJ or just watching the crowd move to the music, it’s a very mindful experience for me,” he says.“I’m grateful to just be there and appreciative of how we can all be one community or family for that period of time.”

The appeal of the rave scene is its inclusivity and it’s a common theme for the new wave of parties exploding in Lagos and environs. No matter who you are or what you stand for, these parties provide a safe space to let loose without fear of objectification or discrimination resulting from socio-economic and political differences, misogyny and other less elegant occurrences which are part of mainstream Nigerian nightlife. This is important to Tonia who, on multiple occasions, has been prevented by bouncers from entering clubs without a male companion. “I’ll always prefer raves, they are much freer and nobody is performing here. There’s no need to show off the number of bottles you bought like there is in a club. Everyone just wants to turn the fuck up and have the time of their lives.” 

For five or six hours, the disco lights, turbulent music and fellow ravers provide solace from the outside world. “Dancing the night away” is not merely a suggestion but a divine mandate from the gods of the rave. It is almost impossible to emerge after such an experience and not want to do it again. The music beckons all and sundry to come out, purge yourself of all inhibitions on the dancefloor, then return home and spread the gospel of the electronic music scene to all who might listen. In Michael-Peace’s own words: “There are people I’ve put onto raves and who loved the experience and constantly thank me for introducing them to it. Once you get hooked on it, you’ll never want to let go.”

Party culture in Nigeria continues to evolve as the new wave of parties mark their time and place in history. But the street parties and carnivals of yesteryears are not to be forgotten. The power of community continues to connect the old wave with the new wave, ensuring that actual people remain the focal point of these events, and party goers can enjoy nightlife experiences uniquely tailored to their ever changing wants and needs.

Jordan Adetunji Told Us The Meaning Of ‘kehlani’

Posted on by Boluwatife Adeyemi

The most distinctive quality of Jordan Adetunji’s music is how eclectic it sounds: it’s a melting pot that blends the jerky rhythms of club Rap with elements of Rock, R&B, Jersey Club and Afropop, creating addictive bitesize records that are inventive and strikingly dynamic. His growing discography, which currently includes a handful of singles and a debut mixtape, houses seductive and melodic rap songs that owe much of their influence to Cash Cobain’s raunchy interpretation of Drill music. The animated records erupt with the frenzy of hardcore Punk as well as other colourful and vibrant sounds that could easily soundtrack an anime fight scene. This comprehensive approach to making music that adopts influences from an array of established and obscure styles was inspired by the video game soundtracks Adetunji heard as a kid. 

“Growing up, I played a lot of games like Need For Speed, Fight Night, Tekken, and a bunch of role-playing games, and I heard a lot of music in these games that inspired me to start making my own music as I grew older,” he tells me during a Google Meet conversation one afternoon in late November.

Adetunji’s clear aspiration to stretch his music out across genres and play with form is what birthed 2023’s ‘ROCK ‘N’ RAVE,’ his official debut project that manages to neatly encapsulate much of what he is about. Tender opener “INAUGURAL EPISODE,” is a slow, heartfelt confessional that’s buoyed by elegant violin strings and serves as a soft introduction into his eclectic and distorted world before listeners are immediately jolted to live with the insistent and booming bounce on “DECAY.”. This arbitrary style also birthed “Kehlani,” his inescapable breakout single which took off worldwide and peaked at number 24 on the Billboard Hot 100 chart. The single also recently earned him a 2025 Grammy nomination for Best Melodic Rap Performance where he is up against heavyweights like Beyonce and Future, highlighting just how far he’s come in a short amount of time. 

Long before the 25-year-old became a Grammy-nominated act, he was just an inquisitive teenager with a knack for tinkering with different sounds and melodies. Born in London, Adetunji lived in one of the city’s largest commercial areas for about 10 years before relocating to Belfast, the capital city of Northern Ireland, with his mum and siblings. Even though he had been fascinated by the idea of making music as a kid living in London, it wasn’t until he got to Belfast that he began to cut his teeth as a budding musician. There, he picked up music classes in high school, specifically learning how to play the trumpet. 

“From there on, I started trying to record my own music on my mum’s laptop. After a while, I got my own small computer, a cheap interface and then I started recording songs and putting them online,” he tells me of his early journey. 

After posting a bunch of spirited rap videos on Facebook, Adetunji put out his first official single in 2020 titled “Close 2 You.” The Dancehall-inspired single was followed by the frenetic, Rock-influenced “Wokeup!” just months after, quickly briefing early listeners that he wasn’t one to boxed in. British singer and songwriter Oli Sykes, who is most famous for being the frontman of the Rock band Bring Me the Horizon, happened to be one of Adetunji’s early admirers and he was intrigued by the then-upcoming singer’s Alt-Rock and Rap experimentation. He reached out to Adetunji and subsequently got him a deal with RCA Records. 

Even after his recent signing with 300 Entertainmet/Warner UK Adetunji continued to record music in his bedroom, just like he did as a kid, tinkering and incorporating even more disparate elements to his already expansive sound. It was during one of these recording sessions that the framework of what would eventually morph into “Kehlani” was created.

 

 

“I had always wanted to write a song about someone who embodies a certain powerfulness and someone who is strong and stands for what they believe in. So I just ended up putting Kehlani’s name in when I was making the song,” he tells me, speaking of the inspiration behind the song. 

“My brother was there with me while I was making “Kehlani” and I remember debating if I should keep the name in or take it out because I didn’t know what the reaction would be,” he continues. Unsure of how people would take to the song, Adetunji posted a snippet of the song on TikTok and to his surprise, it immediately took on a life of its own. This encouraged him to complete the song which he released shortly after and the rest is history. 

Following the success of “Kehlani,” Adetunji shows no signs of taking his foot off the gas. He secured a highly anticipated remix with the alluring and self-assured inspiration of his Grammy-nominated single before closing out 2024 with the saccharine, Lil Baby-assisted “Options” which is cut from the same cloth as his breakout record. Speaking of how the collaboration came about, he explains that the Atlanta rapper was one of the first people to reach out to him after he released “Kehlani.” 

“He showed me mad love. I finally met him in London and he said he would like to work with me. I sent him two songs that I had recorded and he dropped a verse on one of them,” he explains.

Looking to further acquaint his newfound audience with his eclectic soundscape and to cement his status as one of the most inventive new acts on the scene, the Grammy nominee recently announced the imminent arrival of his latest mixtape titled ‘A Jaguar’s Dream.’ 

“A Jaguar, to me, is someone who moves through spaces and conquers every space it enters. This is how I feel with my sound constantly evolving and conquering every space I enter into,” he explained in an official press release. “A Jaguar’s Dream is an entry into my love life and my world of thoughts through sound and emotion. A real manifestation of my dreams I wish to make reality.”

The Songs Of Detty December

Posted on by The Native

Bright city lights, choc-a-block traffic, beach parties, daily concerts, partying till we see the sun – just a few of the ingredients that make up the recipe for a glorious Detty December. And while December has always been the official party season in Nigeria, laden with lavish splendour and a very busy period for the Nigerian music and entertainment industry specifically, things changed around the mid 2010s, when Mr Eazi popularised the phrase “Detty December.”

What was once the way we celebrated the end of the year and beginning of a new one, transcended into a full blown cultural phenomenon and tourist attraction for Lagos and Accra specifically. Marked by a month-long marathon of concerts, raves, and highly-entertaining activities, music lives at the centre of Detty December.

The music that’s popular around this end-of-year time has always played a key part in the season’s enjoyment, with the biggest hits from the past year culminating into the soundtrack of the season. Nestled at the heart of this exuberance are the party-starters that weave the fabric of our most unforgettable nights, and ultimately soundtrack the timeless memories of Detty December.

Travel through memory lane with us as we take stock of the anthems that have powered Detty December vibes across West Africa for the past decade.

2015

Baba Nla – Wizkid 

When the concept of what we know as Detty December really started to take hold, Wizkid had already spent the previous few years as one of the seasons’ champions with songs like “Don’t Dull,” “Azonto,” “Jaiye Jaiye” and Back To The Matter. As the worlds of Ghana and Nigeria came together to create Detty December, Wizkid and Legendury Beatz’ growing relationship had brought the best of both together sonically with  the first official song of the season, Final (Baba Nla). 

Coming right in the middle of the party season, “Baba Nla” became an instant and inescapable hit, and he had the whole country singing about and affirming his run at the top. With a boastful title and fitting lyrics “Say my gbedu is final, wen me drop everybody no dey tire,” it was as though Wizkid knew he had cracked the code, and was bragging about it. 

In a year filled with electronic synth-heavy records such as Skales’ “Shake Body”, Wande Coal’s “Ashimapeyin”, and hip-hop classics like Ycee’s hard-hitting “Jagaban”, “Baba Nla” served as a seismic sonic shift in the music, that reaffirmed Wizkid’s foresight and dominance of the scene. 

2016

Mad Over You – Runtown 

2016 crystallised a welcome shift in the soundscape from these parts. Inspired by Tekno’s mellifluous summer hit, “Pana,” Runtown took charge of the Ghana-inspired “pon pon” sound to deliver a peerless end-of-year masterpiece with “Mad Over You.” 

And with a key part of the Detty December experience being a seasonal whirlwind romance, songs like “Mad Over You” helped serve as a time stamp of these moments. That year, “And if she follow me go, na enjoyment go kill am oh,” was the glue that held all situationships together, stamping a memorable festive period for millennials as they came of age. Sonically, 2016 also crystallised a welcome shift in the soundscape from these parts; moving from a heavy and fast paced dance ready sound, to a more stripped down highlife inspired sound. Whilst Runtown was caught in the thick of a prolonged dispute with his record label, Eric Manny records, the singer turned his adversity into what will forever mark one of the most memorable Detty Decembers to date. 

2017

Manya – Mut4y ft. Wizkid

For the third year running, a delicate blend of Nigerian and Ghanaian culture came together to soundtrack the party season, this time bringing more nostalgia into the mix. Back in the 2000s in Nigeria, “Akhoma Womu,” was an inescapable hit, and Wizkid brought that energy back with an interpolation of the song’s hook. 

In the same year he released his critically acclaimed LP, ‘Sounds From The Other Side,’ which contributed to African music spreading into global terrain, Wizkid rounded off the year with “Manya,” an infectious earworm that felt both nostalgic and refreshingly new. 

That same year, Wizkid illustrated his commitment to community, with a bold move at his concert where he broke the barriers between VIP and regular ticket holders, and united all his concert goers. This move is probably what cemented his GOAT status on the streets, and set him apart from his peers. The mid tempo song was the party starter of the season, and clubs, concerts, parties against strong contenders such as Reekado Banks’ “Like” and Kizz Daniel’s “Yeba”.

2018

Able God – Chinko Ekun

At the beginning of 2018, Nigerian music was decidedly in an era populated by sheeny, mid-tempo, balmy tunes that fixated on the minutiae of affection and the specter of romance. By the end of the year, Street-Pop had roared back to a prominent position within the culture thanks to a series of zeitgeist-shaping sounds that mined the pulse of the streets and came along with a glut of zesty dance styles. Chinko Ekun’s “Able God” was the most propulsive of the songs from the cluster of street-influenced jams that flooded the Nigerian music scene in that year. 

Built around a simple request to have abundant financial resources, it’s a catchy tune that reflected the cultural thrust of the year while hinting at a near-future of Nigerian Pop that would see Street-Pop reach its critical and commercial pinnacle. Produced by Rexxie, “Able God” boasted spurts of the rhythmicity that the esteemed producer infused into Street-Pop without losing the bombast that defined Street-Pop’s underground era. Rapper, Chinko Ekun, dexterously swapped verses with former YBNL act, Lil Kesh, while a then-ascendant Zlatan shared a verse of the year contender amidst his blistering come-up. From its release in August, “Able God” was simply inescapable thanks to its aspirational-yet-demanding call to action and it, rightly, served as a backdrop to year-end revelry across the country. – WO

2019

Ma Fo – Naira Marley

At the height of his powers, Naira Marley had Nigeria in a spell. Whether he repulsed you or drew you in with his devil-may-care disposition, the singer was almost omnipresent in cultural discourse. An unprecedented run in 2019 birthed a series of songs – “Am I A Yahoo Boy,” “Opotoyi,” and “Soapy” – that muscled their way to the top of the Nigerian music scene. Still, of that single streak that year, the one that ruled the airwaves come December was “Ma Fo,” his Young Jonn collab that you couldn’t escape if you were in Nigeria at the time. 

An undeniable victory lap, “Ma Fo” was produced by Rexxie, crystallizing a partnership that had developed between the producer and Naira Marley. The song was a jam for the ages that tapped into the spirit of Detty December while paying homage to Lagos, Nigeria’s economic and financial capital. Mere months after December 2019, the world would go into a lockdown that brought activities to a grinding halt. Thanks to that lockdown, “Ma Fo” was the fuel for the last full-blown blaze of hedonism in Lagos for close to 12 months. – WO

2020

KPK – Rexxie , Mohbad

The COVID-19 pandemic was more than just a global health crisis, it was a reset button on how we experienced music. Amapiano and lo-fi music peeled through the mainstream, albeit reimagined in our own way. We weren’t just listening differently, we were searching for a reminder of what outside felt like. 

Then came KPK, a reinvigorated anthem of defiance after months of isolation. Rexxie, who had quietly been sculpting the DNA of Street-Pop since the Zlatan-led Shaku Shaku explosion, was now fully in the driver’s seat. His signature street bounce paired with log drums dictated the tempo of Nigeria’s reawakening. Anchored by Mohbad’s rebellious charm, irreverent lyricism, and an unfiltered raw energy, “KPK” was a party-starter on arrival in December 2020

When COVID restrictions eased and the streets lit up again, “KPK” wasn’t just a song, it was a victory cry, and a reminder that for the first time in what felt like forever, we were really back outside – J.F..

2021

Zazoo Zeh – Portable, Poco Lee & Olamide

By the middle of December 2021 when “Zazoo Zehh” dropped, Lagos was already in full Detty December mode – streets buzzing, speakers blaring, and the air thick with the energy of a city making up for lost time.

At his core, Portable is a fighter – literally and figuratively – and “Zazoo Zehh” boldly mirrors that energy. The Agege-bred underdog had spent years clawing for attention before earning an invaluable stamp of approval from Olamide, the godfather of Street-Pop. Bolstered by the frenetic production of wonderkid, P.Priime, “Zazoo Zehh” became unavoidable.

Portable rode the wave like a man possessed, sweeping the end-of-year attention with unhinged performances. His unpredictable stage antics, and wild off-stage persona made him an instant sensation and crowned “Zazoo Zehh,” the season’s inescapable anthem – J.F.. 

2022

Chance (Na Ham) – Seyi Vibez

When Seyi Vibez’s debut album, ‘Billion Dollar Baby,’ arrived near the end of 2022, it was with crackling invention and well-earned confidence. The centerpiece of the album was “Chance (Na Ham),” a blistering, if slightly-discordant song that moved between urgent pleas for a chance to be heard and some of the singer’s romantic impulses. 

Steeped in the Yoruba oral music style of apala, “Chance (Na Ham)” was polarising upon release due to its perceived lack of melody, the style of lyricism employed, and comparisons to Asake’s sound. Rather than dull its momentum, the back and forth over the song spurred it to the top just in time for Detty December, earning Seyi Vibez cultural cachet that he parlayed into a staying anthem that played across Nigeria in its peak entertainment season – WO.

2023

Cast – Shallipopi ft ODUMODUBLVCK 

By the time December 2023 arrived, Shallipopi and Odumodublvck had done more than just break into the mainstream, they had rewritten its rules. Shallipopi’s meteoric rise, built on the back of his infectious energy and near-mythical redemption arc through “Elon Musk,” had given Nigerian Street-Pop a fresh new face. Meanwhile, Odumodublvck had bulldozed through the underground with “Declan Rice,” a song as boastful as it was undeniable.

When the two finally joined forces on “Cast,” the result was volcanic. The Busy Pluto-produced track was a heady mix of Shallipopi’s hypnotic Benin-bred swagger and Odumodublvck’s no-holds-barred lyricism. Together, they created a record that moved through the streets like wildfire, fanned further by social media’s insatiable hunger for its unfettered audacity.

It was a match made in controlled chaos. Shallipopi’s surrealist street lingo provided the melody, while Odumodublvck’s guttural delivery turned it into a full-blown call to groove. Despite push back at its abrasive lyrics, “Cast” was one of those rare anthems that did not fade away but instead only got louder – J.F.

2024

Oblee – DJ YK Mule

If there’s one unshakable truth about Nigerian street music, it’s that the most unexpected moments often spark the biggest movements. A single phrase, a beat, or even a throwaway ad-lib can be plucked from obscurity and turned into an anthem provided it falls into the right hands.That’s exactly what happened with “Oblee.”

At first, it was nothing more than a casual phrase, buried deep within Seyi Vibez’ “Flakky” – a fleeting moment in a song that most would have skimmed past. But in the world of Nigerian street music, all it takes is one sharp-eared disruptor. DJ YK Mule was that disruptor.

A mad scientist of sound, DJ YK Mule has long thrived on the fringes of mainstream production, crafting hyperactive, speaker-rattling beats that refuse to go unnoticed.  When he stumbled upon “Oblee,” he drenched it in his signature mara beat, turning it into an irresistible melody . Slimcase, Qdot, and Kashcoming were enlisted for a remix that transformed the track from underground curiosity into a full-fledged street sensation.

Suddenly, “Oblee” was everywhere – pulsing through bus parks, street raves, Lagos markets, and anywhere with speakers loud enough to make walls tremble. It didn’t need a carefully plotted rollout or industry backing; the streets handled that. It reminded everyone that in Nigerian music that the streets dictate the charts, and that anything can become a phenomenon, as long as the people embrace it. And perhaps most importantly, it left behind a mantra that has taken on a life of its own: Oblee delayed is not Oblee denied – J.F.

Pop-Piano Producer, Kooldrink, Releases Debut Single, “Show Me”

Posted on by Wale Oloworekende

Zimbabwean producer and artist, Kooldrink, has released his debut single, “Show Me.” Featuring Nina Nevra, the track marks the beginning of his journey to bring Pop-Piano, a genre he helped pioneer, to the international stage.

Built around the soulful vocals of Nina Nevra, “Show Me” is a reminder of the enduring poise  of Pop-Piano, an interesting interpretation of amapiano that blends the pulsating rhythms of the South African-born genre with the captivating melodies of pop. 

With “Show Me,” the producer is making a statement. The track’s infectious beats, compelling lyrics, and genre-defying sound signal the rise of a new era in his career as a global creator. “I wanted to create something that reflects where I come from while also speaking to the world,” he said about the song. “Pop Piano is about bridging those gaps and bringing the energy of amapiano to a broader audience.”

Just 25-year-old, Kooldrink has already made a name for himself as the creative partner of South African superstar, Tyla. He produced her breakout hit “Getting Late,” a song that launched both of their careers. Since then, he has collaborated with a roll call of international superstars including Ed Sheeran, helming the official amapiano remix of Sheeran’s hit, “Bad Habits.”

Lost In Translation: Street-Pop’s Journey Beyond Language

Posted on by Patrick Ezema

In 2022, Asake rose to Afropop prominence, driven by an ingenious combination of past and future. He commanded Amapiano, the exhilarating South African genre with which producers and artists alike were forging forward in an experimental Afropop scene, and infused it with the substance of his culture, bringing in Fuji as his own distinctive marker. In September of the same year, just as his popularity was peaking on the back of an impressive run of singles, he released ‘Mr. Money With The Vibe,’ a scintillating debut encapsulating the zeitgeist he had spent the year reshaping. Building on the sonic foundation he had set, the record throbbed with the bluster and urgency of his home city, Lagos Island, and dripped with the slang and proverbs you would expect to hear there. Asake platformed his culture not just in sound but with language too, and his brilliant execution was a testament to the creativity that culture brings to the table. Its widespread acceptance, both across Nigeria and beyond, was proof that language is no barrier for those who appreciate excellent music.

Before Asake and his record-setting run, Street-Pop was already a culturally fluid entity, and producers and artists all over the country found success infusing the Ajegunle-born genre with various languages. Olamide built a career by flipping between being the gruff, battle-hardened mafioso of the streets and a carefree purveyor of street party anthems. Phyno, his friend and longtime collaborator from across the Niger, has been a force for Igbo rap and street music, threading slinky Igbo verses into a fabric that ranges from Hip-Hop to Igbo Highlife. Now, nearly a decade after their monumental collaborative album, their protégés tread the paths they laid down. Today, Asake and Seyi Vibez rule the streets, while younger stars like TML Vibez, Balloranking and Ayo Maff sit at the heart of the movement’s next generation. 

In Eastern Nigeria, Rap devotees like Jeriq, Aguero Banks and Zoro spit bars in Igbo. Other artists like Kolaboy and Kcee lean more towards Pop in their approach, reproducing Afropop or Amapiano with traditional Igbo instruments, like the Ogene and Oja. In other parts of Nigeria, clusters of creatives are working to attach their native languages unto some version of Street-Pop. Shallipopi’s use of Bini language and culture, especially for the standout “Obapluto,” has earned him status in mainstream Nigerian music, while others like One Touch (who raps in Bini) and Blixxy D RapKing (who favours his native Ishan) fly under the radar. In Northern Nigeria, Hausa rappers like ClassiQ, B. O. C. Madaki and DJ AB have found success combining Hip-Hop–like flow, local instrumentation, and the Hausa language. Today, Nigerian Street-Pop is more vibrant, versatile, and unapologetically local than ever, but what happens when its meaning gets lost in translation? 

At its origin, Street-Pop was performed almost exclusively in pidgin. In the ‘90s, artists like Daddy Showkey, Baba Fryo, Ras Kimono and Blacky were its chief proponents, and they shared the commonality of being born and raised in Ajegunle, an area of Lagos where their parents had come to settle from different parts of Nigeria – mostly Delta state. For them, pidgin was more than a lingua franca: it was a means with which they could express distinct thoughts that the rigor and structure of English (and perhaps their own inability to properly express themselves with it) would not allow for.

Galala is accepted by convention as the first evolutionary form of Street-Pop. Like many other sub-genres, it was a dance, but still it was much more. Taking heavy influence from Ragga, Galala was an expression of Ajegunle’s free-spirited response to life in adversity. Songs like Daddy Showkey’s “Diana” and Baba Fryo’s “Denge Pose” are classic cuts from this era. These songs share, in addition to sound and language, an infusion of social commentary and storytelling. Galala artists sought to share little nuggets of their lives in the music – like the moving story of Diana’s childlessness, or Baba Fryo’s admonition of the haughty on “Denge Pose.” 

A few years later, Street-Pop took on a couple of new identities, this time via Konto and Swo, although the first was more often used to refer to the genre of music and the latter designated to mean a related dance move. Konto was a little more melodious than Galala, and didn’t carry as much social commentary. Mad Melon and Mountain Black were its biggest practitioners. Their music relied on call and response choruses – whether it be an effusive “Swo!” chanted in response to the statement “I am a danfo driver” on “Danfo Driver,” or the titular response on the chorus of “Kpolongo,” a sequence that has been interpolated multiple times in modern music, including by Tekno and Zlatan. 

Among its many iterations and offshoots, Galala continued its domination through the next decade. In the mid ‘00s it was kept alive by a new batch of artists, like African China and Blackface. These disciples kept faithful to the tenets of the genre, like the conscious social commentary, which brimmed in songs like African China’s “Mr. President,” and “No Condition Is Permanent,” and Blackface’s “Hard Life.” This era also saw an increasing democratisation of Street-Pop, encouraged by several factors: its rising popularity and acceptance, Nigeria’s increasing interconnectivity partly brought about by mobile phones (or GSMs as they were popularly known), the Internet, and the opening up of creative hubs in other cities: Delta, Port Harcourt, Benin, and Enugu. 

This growth meant that Street-Pop had escaped the creative confines of Ajegunle, and could be reimagined and remixed by creatives in other parts of the country. Stereoman Ekwe recorded his ‘Sample Ekwe’ album in his hometown of Warri, Delta State; he was among a generation of artists that recreated Ajegunle’s sound outside its physical borders. His version of Street-Pop was delivered in a variation of pidgin that was coarser than Lagos’, with occasional dippings into Isoko or Urhobo. Other South-South artists, like Timaya, made a connection to the genre via collabs and remixes, like 2Shotz’s “In Case You Never Know.”

While the flames of Street-Pop were spreading across Nigeria, an even greater evolution was happening within Lagos state. Lagos represents the ultimate cultural mixer and a trip from Ajegunle to Bariga, or from Alaba to Agege, means crossing multiple cultural lines. As Street-Pop moved into traditionally Yoruba areas of Lagos, it interacted and mixed with Yoruba genres, especially Fuji, and a new era of the genre emerged, championed by acts like Oritse Femi and DaGrin. The genre’s lingua franca shifted, although Pidgin remained as something of a second language. From the mid ‘00s through the mid ‘10s, Street-Pop picked up lingo from the streets that birthed it, and in turn created a flurry of new slang. Olamide was particularly adept at utilizing the fluid breadth of language and vocabulary. He invokes street-worn sayings, while simultaneously creating new ones like the “-Sneh” suffix that was all the rave back in the day, and phrases like “who you epp?” “science student” “pepper dem” or “omo wobe” that took on a life of their own. 

Other practitioners of Street-Pop across Nigeria have sought to indigenize it as best they can. Phyno rode to glory on the back of a series of hits that fused the frank Hip-Hop of Illbliss and Nigga Raw with the Igbo-laced Neo-Highlife of Flavour. Even younger artists are tapping into their native languages to enhance storytelling. Ayo Maff’s debut EP, ‘Maffian,’ is full of ancient wisdom, the kind that would hardly be expected of a nineteen-year-old, but is reflective of the oral traditions of his Yoruba culture. On “Are You There” he sings that “Oju ri k’ẹlẹdẹ mi to dele,” speaking to experiences he faced before he arrived at his current status, while a line like “Lambebe, o gbọdọ wọ́n nile alata,” compares the overflow of wealth he expects in the future to the abundance of bowls of a pepper seller. These lines help build up the storytelling experience for the informed listener.

While indigenous languages are a source of connection to those who speak them, they also have the potential to alienate the non-speaker. How the audience handles this break in communication determines what their experience will be. While some may find it hard to get into music if they don’t understand the words, options abound for a fan willing to take a few steps to seek enlightenment – including online translations, annotated Genius lyrics, or song breakdowns on TikTok and YouTube. With today’s world focused on short-form video, it is not surprising to find an artist making lyric translations to their own song on TikTok. 

Ultimately, Nigeria is a music-loving nation. Even now, Asake’s music – slangs, idioms and all – continues to be a mainstay in barbershops in Enugu and raves in Benin and Port Harcourt; his words often undecipherable, but the groove irresistible. In clubs in Lagos, Flavour and Phyno boom from speakers, as hypemen announce the arrival of the latest big spender. A listener who does not understand the language may miss part of the message, but they are energized by production and serenaded by melodies. Music is a universal language, and in Nigeria’s banging Afropop scene, melodies speak louder than words. 

M.A.D SOLUTIONS UNVEILS “M.A.D SOLUTIONS FOR CREATORS” IN PARTNERSHIP WITH YOUTUBE

Posted on by Wale Oloworekende

Building on its recent partnership with TikTok, M.A.D Solutions, has announced a transformative initiative, M.A.D Solutions for Creators, in partnership with YouTube. This strategic move puts M.A.D Solutions in position as a YouTube Creator Services Provider (CSP), setting new benchmarks for supporting creators in various aspects of their YouTube journey such as content production, optimization, monetization, and audience engagement.

This partnership evolved from M.A.D Solutions’ established Sound Recording and Audio Visual (SRAV) Partnership with YouTube, which previously focused on asset management, Monetization and Rights management for Official Artist Channels  via M.A.D Solutions Content Owner. The new engagement expands this ecosystem with an Affiliate Content Owner For Creators, integrating niche creators such as podcasters, lifestyle influencers, reality TV producers, and experts in travel, fashion, and beauty.

A standout aspect of this initiative is that it allows for provision of funding opportunities to help viable creators cover production costs and other financial contingencies, enabling them to concentrate on their craft while accessing essential resources for sustainable growth and professional excellence. Bugwu Aneto-Okeke, founder M.A.D  Solutions, highlighted the importance of this partnership, saying “Our vision has always been to bridge technology and creativity to unlock opportunities for creators in Africa and beyond. With M.A.D Solutions for Creators, we are not only reshaping the digital landscape but also ensuring that creators, regardless of their niche, have access to funding, strategies, and the global platforms needed to amplify their voices.”

Founded in Nigeria in 2017 and now headquartered in Houston, Texas, M.A.D Solutions has built a solid reputation for promoting African talents on the global stage through innovative and forward-thinking distribution strategies. The company has successfully distributed music from renowned African artists such as Flavour, Simi, P-Square, Runtown, and Phyno, solidifying its position as an industry leader in the African digital music ecosystem. With active operations also in South Africa, Canada, and the United Kingdom, M.A.D Solutions continues to expand its presence globally, connecting over 1,000 artistes to key platforms like Apple Music, Spotify, Boomplay, Audiomack, Amazon Music, and TikTok.

DeeYasso Lets His Music Do the Talking

Posted on by Tochi Louis

Despite growing up miles away from Lagos, DeeYasso never felt limited by the popular sentiment that success in music could only happen in the south-western city. The Taraba-born producer always believed that the right opportunities would eventually find him if his music was good enough. His love for music took root early on, nurtured by a chorister father and the support of his church and school,  all of which eventually led him to pursue a career in music production in 2006.

Deeyasso gradually built his profile as a resident producer at his school and churches, collaborating with local and surrounding bands around Taraba. In 2016, DeeYasso suffered a major blow when his hard drive containing unreleased works with artists like Kizz Daniel, Jesse Jagz, and Danfo Drivers was stolen. Then in 2017, he missed a significant opportunity with Mavin Records as he suffered creative slump following his mother’s passing. But 2018 marked a turning point: Chike reached out for a collaboration that has since led to three albums, one of which, ‘Boo of the Boolesss,’ propelled Chike into a different stratosphere, and became widely acclaimed as a contemporary Nigerian classic.

From that moment on, DeeYasso’s sound, which blends African influences with global elements, began to resonate with a wider audience. With hits like “Intoxycated” by Oxlade and Dave and “Egwu” by Chike and Mohbad, DeeYasso has become a household name. Whether working with emerging talents like Mr. Dutch, or producing hits for industry veterans like  “Tomorrow” by Yemi Alade, which earned him a 2025 Grammy nomination, DeeYasso constantly ups the ante by drawing from diverse genres. “While songs like “Roju” feel like Igbo Highlife, they also incorporate elements from Congolese, Cameroonian, and Ivorian music. “That diversity comes from my background playing live music with people from different parts of Africa,” he explains.

From his early days experimenting with music in Taraba to finding global validation for his work, DeeYasso reflects on his creative process, his journey to Grammy recognition, and his will to keep making a statement.

Your roots are in Taraba. Can you tell us what growing up there was like and how it shaped your passion for music production?

Growing up in Taraba was incredibly formative. Music was always around me – my dad sang in the church choir, and he was one of my biggest influences. He supported me in every way, which made all the difference. When my church discovered I could play instruments like the drums, piano, and guitar, they went 6all out and bought every instrument I needed.

Even my secondary school encouraged me when they saw that people from town would pay me to play. They bought instruments too, so I could perform on campus. These seemingly small gestures built my musical foundation. By the time I started producing music, my dad let me turn our boys’ quarters into a studio. It was right opposite his bedroom, and I’d play music from morning till dawn, disturbing the whole neighborhood. But my dad never complained. He only checked to make sure we were safe before going back to sleep.

I never felt limited in any way, not even by school. In fact, I graduated as one of the best students in my class. Today, I’m proud to say that I’m also a lawyer.

At what point did you realize music production wasn’t just a hobby but your true calling?

Honestly, from the very first moment. I remember the first time I saw a drum set, I literally shivered. I’m not exaggerating. I couldn’t sleep that night; I kept thinking about it. The next day, I went back to that church, touched the drums, and begged the drummer to teach me. It felt like something in me had been waiting for that spark.

Within two weeks, I was playing drums well enough to impress everyone in my church. A year later, I entered a competition and won a drum set. That was when I knew this wasn’t just a passing interest, it was in my blood.

Many believe you have to be in Lagos to make it in Nigeria’s music industry. Did you feel that pressure residing in Taraba?

Never. I believed that if I created the right material, Lagos would eventually call me and it did. I remember in 2016, I was working on sessions with several artists, including Kizz Daniel, Mr. 2Kay, Jesse Jagz, JOEL, and Danfo Drivers. Unfortunately, after those sessions, my hard drive was stolen, and I lost all the work. It was devastating because I couldn’t deliver their projects. 

In 2017, Mavin Records reached out through Tega (Oghenejobo), but I wasn’t in the right headspace to engage with them because I had just lost my mom. They contacted me two weeks after her passing, and I couldn’t even hold proper conversations at the time. It was a missed opportunity, and I felt terrible.

But in 2018, things took a turn. Out of nowhere, Chike sent me a DM on Instagram saying, “Yo, I’ve been following your sound and seeing your tags. Can you come to Lagos? Let’s work.” I told him, “If you can book my flight and accommodation, and feed me while I’m there, I’m in.” He agreed without hesitation, sent me the money, and the next week, I was in Lagos.

From what started as one or two songs, Chike and I have ended up making three albums together. Beyond that, I’ve worked on albums with Ric Hassani and produced major tracks for artists like Oxlade and many others. I always told myself that when Lagos called, I’d walk in with my shoulders high, ready to dominate and that’s exactly what happened. 

What was it like putting together Chike’s breakout debut album ‘Boo of the Booless’?

A lot of the Highlife on that album isn’t strictly “Igbo” Highlife – it’s African Highlife. You can hear influences from Congo, Côte d’Ivoire, and Cameroon throughout. Between 2006 and 2009, I was actively playing live music with bands, often performing Makossa with musicians from Cameroon, Congo, and other parts of Africa. I played as a lead guitarist, bassist, or drummer, depending on what was needed.

Working with them broadened my musical perspective and exposed me to diverse sounds and rhythms. Over time, those influences became a natural part of my style, which made it easy to combine these elements into the music. While there are traces of Igbo Highlife in ‘Boo of the Booless,’ tracks like “Roju” possess a more contemporary fusion, blending traditional African elements with something fresh and unique. It’s all about creating something that feels timeless yet modern.

Your sound is also behind some of Nigeria’s big records, from “Intoxycated” by Oxlade and Dave to Ric Hassani’s “Thunder Fire You.” How would you describe your style as a producer?

It’s hard to define because I don’t like to be boxed in. I create fusions – blending sounds and influences from everywhere. When we worked on Chike’s ‘Boo of the Booless,’ people thought I was just a Highlife or Alternative producer. But as my work evolved, the perception kept changing.

Take “Roju” for example. While it feels like Igbo Highlife, it also has elements from Congolese, Cameroonian, and Ivorian music. That diversity comes from my background playing live music with people from different parts of Africa. I’m very, very musical.

What’s your approach when working with an artist on a new project?

It always starts with a conversation. I want to understand their vision and where they’re coming from. Some artists trust me to take the lead – they say, “You’ve heard my past records, so do your thing.” That freedom makes the process exciting.

Other times, it’s more collaborative. They bring ideas, I bring mine, and we find ways to spin everything into something fresh. Usually, we start by vibing, whether with guitars, pianos, or beats. It’s always about finding the magic together.

Let’s talk about “Tomorrow” by Yemi Alade. It earned you your first Grammy nomination. What was it like creating that track?

That session was special. It was my first time working with Yemi Alade. We recorded four songs that day, but when we started writing “Tomorrow,” we all felt something different.

I created the instrumental on the spot, and we built the song in her camp with a team of writers. Yemi brought some lines, I brought some, and the writers added theirs. After recording, I decided to make it even more African by adding choir arrangements and chants at the beginning and end. When the Grammy nomination came, it wasn’t a shock. We knew the song was good. The nomination just confirmed what we felt all along.

“Egwu” by Chike and Mohbad also became one of the biggest songs of 2024. What was it like working on that track with both artists?

“Egwu” wasn’t even planned! We were wrapping up a different session when I called Chike and Mohbad back at 2 a.m. and played them an instrumental I’d been sitting on.

Chike started chanting what you hear at the beginning, and we both worked on the backup vocals. Mohbad wrote his verse in less than 15 minutes, and his arrangement ideas took the song to another level. We finished it in one session. Mohbad even told Chike, “Na the main gbedu be this o!” and he wasn’t wrong. May his soul rest in peace.

Has any song ever pushed you creatively more than you expected?

Ric Hassani’s album ‘The Prince I Became’ really challenged me. Ric is a perfectionist. Some songs were recorded over ten times just to get the right emotion. It was intense, but it taught me patience and how to bring out the best in a project.

Now that you’re a Grammy-nominated producer, what does this milestone mean for you and your journey? When I make music, I try not to set huge expectations to avoid frustrating myself. My focus is always on creating something good, something timeless. Whether the song becomes a hit immediately or not, I trust its quality and believe it could resonate at any time in the future.

So, the Grammy nomination wasn’t a shock to me. From the moment we created “Tomorrow,” we knew it was a great song. The nomination was simply a confirmation of what we already felt and it reaffirmed that our work was exceptional and caught the attention it deserved.

I’ve always believed my music has the potential to go global because I’m intentional about making good music. Sometimes, a song might not blow up right away, but I trust that when the time is right, it will find its moment.

Take “Umbrella” by Nasboi and Wande Coal, for example. It was initially part of an EP, but I fought to have it released as a single because I had a strong feeling about its potential. Seeing how viral it went proved that trusting your instincts and focusing on quality always pays off.

Wizkid’s Language of Grief

Posted on by Wale Oloworekende

Wizkid doesn’t really let anybody in. Throughout his decade-and- a-half stint at the top of Afropop, he has mostly maintained that position by the sheer force of his personality and an intuitive knack for rhythmicity that borders on superhuman. Even when he was reflecting on the socioeconomic pressure that served as fuel for his breakthrough on tracks like “Oluwa Lo Ni” and “Wad Up” off his debut album, ‘Superstar,’ he was not so much excavating the trauma of his past as he was pointedly detailing the profound difference in his new reality, afforded him by his musical success. Across his stacked catalogue, we have seen Wizkid sing about his fascination with pretty women, cash, cars, and the flyest outfits without really understanding what lies just beyond that material surface with the rare exception of when the singer mentions his mother. 

‘Ayo,’ his second album, has two specific mentions of the singer’s admiration for his mother. “Mummy Mi,” produced by Spellz, is a mid-tempo dedication to his mum’s sacrifices and the redemptive nature of her love while “Joy,” placed near the end of the album offers some more context on the relationship between Wizkid and his mother. It’s a soulful dedication to the bond they shared and a reminder of how  Wizkid’s arrival into his mother’s life in 1990 brought so much joy to his family. “In the early ‘90s, that was the beginning, mama had me, she was definitely happy,” he sweetly sings atop the rasping Dokta Frabz-produced instrumental.  Literally translating to his given name, Ayo, “Joy” was a wholesome glimpse into the inner workings of Wizkid’s life that has not been replicated since then as the singer took his campaign global with albums like ‘Sounds From The Other Side’ and the widely-lauded ‘Made In Lagos,’ a more refined version of the R&B flow used in the opening section of “Joy.”

In August 2023, news broke of Wizkid’s mum’s passing, prompting a groundswell of public support for the singer who has leaned very publicly on his mum for support throughout his career. As can be expected, Wizkid retreated from the public eye to process the loss and grief with his loved ones in private. Since then, the monumental scale of his mother’s death has become apparent for anyone following the singer. As part of the schedule of ceremonies to celebrate her life, Wizkid spent some time in Lagos where he revisited his old haunts and made a N100 million donation in his mum’s memory to kids in Surulere. “IDK,” a standout off ‘S2,’ his December extended play was made following his mum’s death according to the singer and it wrestles with the weight of his loss in its margins. 

Raised in a culture that – for better and worse – prioritises a dignified response to pain, the language of grief that Wizkid employs is layered and textured. But, for anyone that’s listening, the signs are abundant. “Tough times don’t last but tough people do, we go stand tall,” he morosely sang on “IDK,” hinting at the pain he was battling before yielding the floor to Zlatan. On her first posthumous birthday, Wizkid wrote a note to his mother on social media: “Happy birthday, love of my life! I miss you every day,” he said. “The first one without you here feels unreal. Nothing makes sense without you, mama! Life is empty without you. Continue to watch over us! My heart is broken forever! Love you, love you, MORAYO mi. Your smile is a memory I will never forget. Your laugh! Your hugs and kisses. I miss you dearly!”

 

 

Not long after, he revealed that his next album would be titled ‘Morayo’ in her honour, calling it the best album he ever made. While the jury will remain out on where ‘Morayo’ will rank in his discography for a while, it’s the fullest fusion of all the styles that he has experimented with across his career, building a link between the percussion-led Pop bombast of his earlier years, the Dancehall-inflected crooning of the ‘SFTOS’ era and the orchestral R&B style that he has worked with for much of the last five years. 

Even when it’s not referenced directly, the sorrow that Wizkid feels at the passing of his mum is a near constant, with her presence never too far away from his mind. On Morayo‘s opening track, “Troubled Mind,” there’s an immediate signpost that this album was designed to be a final farewell to a central figure in his career. The song opens with a section of Fuji legend, KWAM 1’s, set at  Wizkid’s mother’s burial, welcoming listeners to his sixth album with words of comfort, while Wizkid’s own lyrics sound disconsolate as he finds escape in hedonism. “Say the blood for my eyes and the pain for my mind, mo le salaye,” he sings after KWAM 1’s stretch ends. 

For 33 out of his 34 years on earth, Wizkid had his mother in his corner to work through some of the most knotty moments of his life; and for the first time, he’s having to navigate loss without a central part of his support system. The sense of unease bleeds into his music and there’s a real sense of desolation in how he constantly sings, “I got a troubled mind,” even if it still ends with an acceptance of his loss and a request for a shot in memory of his mother. Even for the biggest of stars, grief is an unending spiral that can creep up on the most unexpected moments. 

In Yoruba cosmogony, the death of elders is seen as an opportunity to celebrate their lives and the impact they have made on their loved ones and community. In that regard, the burial ceremony for Wizkid’s mother was a celebration for the ages with a selection of stars, well-wishers, and institutional figures joining the Balogun family last year to bid her farewell. Something about his mum’s passing and Wizkid’s time in Lagos last year has made him return to the lively percussion of his youth in a way that he’s not really explored since ‘Ayo,’ the album housing “Mummy Mi” and “Joy.” Songs like “Karamo,” “Kese,” and “Bend” are straight out of the playbook of the sweltering bangers that Wizkid used to churn out steadily as a youngster with a point to prove as his mum urged him on to superstardom – even if they don’t possess the same pomposity of the original. With his mum gone now, these songs on ‘Morayo’ function as a key to remembering simpler times when his current heights were dreams that he was reaching out for. 

Perhaps the most emotionally resonant moment on ‘Morayo’ arrives on “Pray,” the record’s closing song where Wizkid finally directly confronts the elephant in the room. Opening with a story of his struggles as an up-and-coming act, he recounts his mother’s words to him in those tough times: “Mama call me, ‘Ayo Balogun, they can never find another you.” It’s a moment that plainly shows the depth of love that Wizkid and his mum shared, and how her affirmations shaped his career as he went on to become one of the most defining artists of his generation. Later on “Pray,” Wizkid will add, “I know my mama pray for me / And I know the heavens dey for me.” Even in death, the singer is assured of the bond they shared, and we are all public witnesses to that love even if he won’t let us into his life totally.

 

 

uNder: Best New Artists (November 2024)

Posted on by The Native

As the year draws to a close and we look back at some of its best music, there’s no denying how much of 2024’s soundscape was powered by fresh, audacious voices from across the continent who were willing to take chances, step outside of the creative boundaries of their predecessors and carve out their own unique lane in Africa’s music scene.

Take Godwin, the Kaduna, Nigeria-born singer whose deep, introspective records have not only resonated with listeners of his own music, but with moviegoers as well; or Onoola-sama, who continues to build a cult following with her eclectic but recognizable sound throughout her steady climb to stardom.  

Rvdical The Kid, whose free-flowing melodies speak to his global influences is just another example of the direction that African music is taking these days – distinct in its own sound, but still having multiple entry-points for any listener. And Kyla Blac, for her part, brings her soulful creations to life with the confidence that many seasoned artists still seek to find in their music. With voices like these leading the way, there’s a lot to be excited about over the next year in African music. 

 

Onoola-sama

For fans of: Moyoswrld, Len, DEELA

It’s hard to put your finger on the kind of music onoola-sama makes. In her Spotify bio, she describes her music as “super cool fun hot sexy music” – and while that’s fairly accurate, it does not adequately capture the breadth of her hugely imaginative sound. The Toronto-based artist is a genre-agnostic shapeshifter who tinkers with some of the decade’s most prevalent and obscure subgenres like Vapor Trap, Alt-R&B, Shoegaze and even blown-out Bedroom rap to create a kinetic fusion with a foot in almost every corner of today’s internet. While her earlier releases like “tangie’reen,” “magenta” and her 4-track debut ‘ode2me’ were all characterized by ethereal, dreamlike production and delivery, 2022’s boisterous “B1TCH3S!” quickly dispelled any notions that onoola-sama could be tied down to a specific genre or sound. 

If her initial releases showcased her wispy vocals and melodies, “B1TCH3S!,” which came in late 2022, proved she is just as compelling spitting cutthroat bars over animated beats as she is singing emotionally-charged tunes. Her varying styles all came together on ‘i want what i want,’ her second official project which came in 2023. While the project is also buoyed by eerie production, onoola-sama swaps out some of the melancholic autotuned singing that defined ‘ode2me’  for raging growls about convoluted relationships, drugs and designer clothing, highlighting her versatility and willingness to experiment. 

In 2024, onoola-sama’s desire to constantly play with sounds has not diminished in the slightest. After releasing a few successive singles – “myheartbreakparty,” “BRASH,” and “onoola-chan” – through the year that further explored her “super cool fun hot sexy” sound, she released the Soca-inspired ‘fujiBouyon*’ in September. The 3-track pack that takes huge influence from Dominica’s Bouyon music melds frenzied dancefloor energy with some innovative rapping and singing. “fêteRock*,” the standout track on the single pack is an incredibly infectious banger that features a brilliant and fun verse from rising rap star DEELA and begs for the meanest waist whine. “tequila, gin & rum,” onoola’s latest release sees her take another sonic excursion, this time experimenting with other alternative Hip-hop sounds and proving time and time again that she’s not one to be boxed in. -B.A 

 

Rvdical The Kid

For fans of:  Odunsi (The Engine) and Tay Iwar.

Look past the sonic abstractions of Rvdical The Kid’s music and there’s a warmth just beneath the surface that hints at a deeper vibrancy. Influenced by Hip-hop but not allowing himself to be limited by its stylistic components, the producer and singer’s music draw from a wide pool of sources that includes Jazz, Shoegaze, and Neo-R&B. Born in Nigeria, and raised in Benin and  Baltimore, Rvdical’s music distills distinct aspects of those cultures into a style that’s refreshingly unique and enjoyable while prioritizing self-expression. “I’m definitely global,” he said in an interview with Floor Mag. “I feel like I allow all those parts of myself to express themselves naturally without putting too much thought into it. “I have so many influences so being more of a musician, I feel like I’m a sound curator.”

Rvdical’s preference for free-flowing creation is evident in the unhurried groove of his music and how it rarely follows a defined structure. The instrumentals are orchestral and self-gratifying and the vocals can be fizzing whispers or booming utterances, depending on what Rvdical feels like. He first made an introduction with his 2015 album, ‘Carte Blanche,’ a celebration of freedom and non-conformity that packed skeletal instrumentals, soulful ballads, and dancefloor summons in just seven tracks. Opener, “Miles Away,” pulsates with the essence of being disconnected from the world while the Maesu-featuring “Dopamine” is a lo-fi affirmation of feeling as good as can be. 

Just as he emerged onto the scene with a certain mystique, Rvdical retreated for a while before emerging in 2020 with a new extended play titled ‘Little Planet.’ Just like ‘Carte Blanche,’ it’s a beat-led effort with more colour splashed across its runtime, a legacy of his return to Ghana after completing a degree at the University of Maryland. “One thing I do know is that since moving to Accra my sound has become more open, and I would definitely blame the sun for that,” he said in an interview with Asbo Magazine. “Because you can’t be hot and depressed in the sun, so melodically, harmonically the music just naturally becomes brighter.” Whether collaborating with ‘TAYDK’-era Amaarae on the ethereal “Nasa” or Nonso Amadi on “Often,”  ‘Little Planet’ offers a unique spin on his electronic style that hints at mastery. – W.O

 

Kyla Blac

For fans of: Amaeya, Kold AF & Qing Madi

After only a couple of features, Kyla Blac made her debut with a 4-track EP, arriving seemingly more confident than most. Although ‘Only A Minute’ leaned in the low-fi direction, stacked with brief tracks and fleeting messages, Kyla’s soulful vocals are hard to miss. From “Unapologetic,” which offered a glowing Pop-leaning soundscape to “Find Ur Way,” geared more towards R&B while presenting her lush chords over a rhythmic balance between singing and rapping, Kyla Blac is clearly comfortable in her musical lane. After that, the Zimbabwean native took a step back only to return three years later with “PROBLEM”. The Murphy Cubic-production featured daunting piano keys and a reverberating bass where Kyla bitterly reminisces of a previous relationship. 

Still, her moment feels like it has only just begun with more refined tracks like “Some Day” under her belt. The Neo-Soul contribution features her infectious vocals stretched across various notes, briefly creating an illusion of multiple voices. She talks about chasing success like there’s no tomorrow and remaining motivated by her responsibilities and support system; “Keep going till I break the chain, too many eyes have prayed for it,” she sings. Thereafter, she joined Sylent Nqo for a heartbreak anthem dubbed “Good One” and Afro-pop number “Energy ” assisted by Da_Kudu and Kbrizzy. For all those ruled by love and searching for those with similar perspectives, look no further than Kyla Blac for all the anguish and buoyant thrills of romance. -N.I

 

Godwin

For fans of: Asa, Jacob Banks, Dwin The Stoic

Born and raised in Kaduna, Godwin’s music is characterised by his familial experiences, producing what can best be described as kinfolk music. His debut EP, ‘Road to Nirvana,’ released earlier this year, is a tapestry of lived experiences, marked by loss, love, and resilience, with his riveting vocals weaving a fabric of warmth and relatability. 

Long before turning to music, Godwin was a celebrated filmmaker and the founder of The Critics, a Kaduna-based film collective popular for its DIY sci-fi films that gained local and international attention from big names in film such as Morgan Freeman. This filmmaking background is evident in Godwin’s lustrous ability to paint evocative emotional landscapes through his lyrics and melodies. Listening to his music can sometimes feel like watching an indie film — raw, authentic, pulsating with emotion and rich with storytelling. This cinematic appeal is one of the most distinct cornerstones of Godwin’s artistry. His latest single, ‘Blood for Blood,’  was featured by Paramount Pictures as one of the soundtracks to the 2024 thriller, ‘Gladiator 2’. The core of Godwin’s artistry is the intimacy across his music, that can be likened to a heartfelt conversation with a close friend. Tracks like  “Proud of You” and “Now” from ‘Road to Nirvana’ are rooted in universal themes of self-discovery and grief, earmarking his unique ability to turn deeply vulnerable moments  — such as the loss of his mother — into sing-along rhythms.

The 23-year-old expertly blurs the lines between Folk and Alternative music, using  minimalist instrumentation, often led by acoustic strings and piano, to set the stage for his spell-binding stories. Ultimately, Godwin’s art isn’t just about the music; it’s about a shared connection with the listener through relatable experiences. Fresh off opening act duties on the European leg of Tems’ ‘Born In The Wild’ tour, and a feature on the soundtrack of the blockbuster, ‘Gladiator 2,’  Godwin is undoubtedly one of the most promising emerging talents today. With a pristine blend of filmmaking and music, the Kaduna native’s art stands as an invitation to feel deeply, dream boldly, and embrace the beauty of shared humanity. – J.F.

 

Rigo Kamp is Apple Music’s Newest Up Next Artist in Nigeria

Posted on by The Native

For almost a decade, Apple Music’s Up Next Program has helped spotlight a new generation of emerging talent, exposing them to a larger audience. The program’s alumni includes a class of dazzling acts including Rema, Burna Boy, Tems and more. Since their expansion to Nigeria in 2021, the global artist initiative has consistently presented a roster of the most promising emerging talents from this side. Following his double-feature release, Neo-Soul singer and songwriter, Rigo Kamp, serves as the latest addition to the program.  

His 70s inspired funk debut dubbed ‘Summer/Morning Sun’ displayed Rigo’s irresistible magnetism and charisma over the locked groove of a Disco-inspired beat, alongside an infectious Soul and Jazz blend which scored production credits from Alté pioneers, Odunsi(The Engine) and GMK. Regarding the program’s feature, coupled with a glowing appearance on the accompanying playlist where he sits amongst the likes of FLO and Bree Runaway, Rigo shares: 

“The little boy in me sees the man standing before him now as the Apple Music Up Next Artist for Nigeria and is proud… It’s a special day for me and everyone that has worked with me over the years.” 

Listen to ‘Summer/Morning Sun’ here.

 

M.A.D SOLUTIONS SECURES NEW TIKTOK LICENSING AGREEMENT

Posted on by Wale Oloworekende

African music distribution and service provider, M.A.D Solutions, has secured a new licensing partnership with TikTok. This comprehensive agreement opens a new frontier for African music, covering TikTok, CapCut and the TikTok Commercial Music Library (CML). Under the terms of the partnership, artistes in the company’s catalogue will be able to generate revenue from their music on TikTok, particularly through branded content campaigns, thereby expanding their reach and income potential.

By integrating with TikTok’s ecosystem, M.A.D Solutions’ artistes will gain access to commercial opportunities from branded content campaigns. The CML is utilised by over 70 million global brands such as Coca-Cola, Diageo, Bose, Dove, ESPN, IKEA, Walmart, allowing for seamless monetization through music usage in advertisements, challenges, and viral trends.

“This partnership with TikTok aligns perfectly with our mission to bridge the gap between African talent and global markets,” said Bugwu Aneto-Okeke, Founder and CEO of M.A.D Solutions. “TikTok has revolutionised music discovery, becoming a vital platform for exposure and revenue generation. Our partnership ensures that artistes under our banner are strategically positioned to benefit from its immense potential. We are committed to optimising artiste revenue while amplifying African culture across the globe.”

Founded in Nigeria in 2017 and now headquartered in Houston, Texas, M.A.D Solutions has built a solid reputation for promoting African talents on the global stage through innovative and forward-thinking distribution strategies. The company has successfully distributed music from renowned African artistes such as Flavour, Simi, P-Square, Runtown, and Phyno, solidifying its position as an industry leader in the African digital music ecosystem. With active operations also in South Africa, Canada, and the United Kingdom, M.A.D Solutions continues to expand its presence globally, connecting over 1,000 artistes to key platforms like Apple Music, Spotify, Boomplay, Audiomack, Amazon Music, and TikTok.

Review: ‘Morayo’ by Wizkid

There’s usually a prevailing narrative heading into every one of Wizkid’s albums. In 2017,  months before the release of his stateside debut ‘Sounds From The Other Side,’ there was a major sense that the Lagos-born singer was looking to expand his reach and find success abroad after years of local dominance. This made perfect sense, as the previous year had seen him gradually transition from Afropop mainstay to rising global star after securing an “Ojuelegba” remix with Skepta and Drake, and guesting on the latter’s global smash hit “One Dance” just months later. When the album finally arrived, the music gave credence to the overarching narrative that had preceded its release. And while the project didn’t help Wizkid fully achieve the sort of crossover success he might have hoped for, it showcased the beginnings of a sonic evolution that would help usher in a new era for the superstar. 

Unlike its predecessor, 2020’s ‘Made In Lagos’ arrived on the back of a slightly precarious notion. ‘Sounds From The Otherside’s failure to resonate at home or abroad created the sense that there was little room for error on ‘Made In Lagos.’ Even though Wizkid’s legacy was already secure at this point, another lukewarm project would have raised concerns about his position at the apex of Afropop’s pyramid, especially as a new vanguard of hugely talented popstars was quickly emerging. ‘Made In Lagos’’ far-reaching success, however, dispelled any doubts about the singer, as he captivated fans and a new global audience with his lustrous fusion of Afropop and R&B. 

‘Morayo,’ Wizkid’s latest studio album, comes a little over a year after the singer lost his mum. The album title, which was revealed months ago, hinted at a pensive, perhaps reverential body of work that would memorialize his late mother. There was also the infamous Instagram rant from earlier in the year where the singer denounced Afrobeats and urged fans who longed for his “Pakurumo” days to not “download this new album.” This stirred speculation that Wizkid no longer wanted to be confined to the perceived restrictions of Afropop – a genre that’s basically synonymous with his name at this point – and that he could be heading in a new musical direction on his latest album. Wizkid, however, has never really been one to stick with the themes or concepts that his album titles might suggest. 

‘Made In Lagos,’ for all its success, has little in common with the city it claims to take inspiration from. ‘More Love, Less Ego,’ the languid follow-up to his magnum opus, also does very little to address or explore the proverb-like mandate of the album’s title. So it’s no surprise ‘Morayo’ isn’t so much a eulogy, as it is another routine addition to his ever-expanding oeuvre. The record is bookended by vulnerable numbers: on album opener “Troubled Mind,” Wizkid admits to feelings of agitation and unrest, singing “Say, the blood for my eye and the pain for my mind, mo le ṣàlàyé,” over slow drums. And on the poignant “Pray,” the album’s final track, Wizkid also sings about his mum’s ceaseless prayers, even in the afterlife; but these kinds of moments are few and far between on an album many expected to be an homage to the woman whose wisdom, influence and in some cases, actual words, have had a huge presence in the singer’s music. 

Sonically, the album also doesn’t stray far from what Wizkid has been making in recent times. In fact, a more cynical listener might argue that there hasn’t been much progression or innovation in his work over the last few years. But then again, anyone who has been following Wizkid closely would have known to take that early year Instagram rant with a pinch of salt.

In truth, grief and loss are complex emotions that can be processed in a myriad of ways. On ‘Morayo,’ Wizkid seems to find solace in what works, mostly drawing on familiar themes like love, lust and his hedonistic excesses to once again create an intricate and lustrous musical experience. This is in part thanks to P2J, Wizkid’s trusted producer whose distinctive percussive patterns and preference for wind instruments have come to define the popstar’s sound in the last few years. The lead single “Piece Of My Heart” which features Brent Faiyaz, is a pristine two-part duet that benefits largely from the R&B star’s inclusion as well as P2J’s thumping drums. “Bad For You,” which features another American R&B stalwart Jazmine Sullivan, is also immaculate in its composition, as both singers coast nicely over P2J’s lush instrumentation. 

Other collaborations on the album achieve mixed results. “Après Minuit” with French rapper and singer Tiakola is a vibrant and breezy number that is sure to slither into the Francophone airwaves while “Slow” with Canada-based Gabonese singer Anaïs Cardot – who appeared on Asake’s ‘Lungu Boy’ earlier in the year – is a smooth, whispery affair perfect for soundtracking late nights and intimate experiences. “Bad Girl,” with Asake, however, doesn’t quite land, unlike its Grammy-nominated predecessor “MMS.”  Elsewhere, Wizkid looks to rekindle some of the dynamism that made him the foremost hitmaker in the country early on in his career, punctuating the album with a number of zippy club bangers like the pre-released “Kese (Dance),” “Soji,” and “Bend” which brings to mind his *checks notes* “Pakurumo” days. 

“A Million Blessings,” a cinematic cut that sits in the middle of the album, is perhaps its best offering. It opens up with elegant violin strings that set the stage nicely for Wizkid’s silky-smooth flow. The veteran singer takes stock of his blessings while also reasserting his standing amongst his peers. “I’ve heard a million stories,” he sings melodiously on the pre-chorus. Wizkid, however, rarely drops his veneer of cool on the album long enough for these stories to manifest into anything beyond endless braggadocio and prosaic lines that tell us nothing new about the veteran even after all these years.

 

These artists produced nigerian music’s best 3-album runs

Posted on by Boluwatife Adeyemi

These artists produced nigerian music’s best 3-album runs

Santi, Reminisce, Asa and more.

Written by The NATIVE – 12.Oct.2024



In late 2020, just a few days after Wizkid released his seminal album ‘Made In Lagos,’ the megastar went on a country-wide press run that detailed his frame of mind while working on the project as well as the rigorous and lengthy process that it took to carefully compile his magnum opus. “Believe it or not, there’s been like 10 [versions of] ‘Made In Lagos’ before this one,” he said nonchalantly on air in conversation with radio host Osi Suave. 

 

Pulling off one great album with that level of diligence and care is a triumph for any artist. Being able to deliver multiple strong projects consecutively, though, is a feat that’s reserved for acts who are well versed in the science of making an album while constantly showing artistic progression without a trade-off in quality. This year,  the release of ‘Lungu Boy’ capped off a near-perfect trifecta for Asake in the space of three years. In the list below, we’re going  to discuss some of the best three-album runs the country has ever seen. While there’s a large pool to select from, and a case to be made for several other artists whose projects might not have made this list, we’re keeping ours to just seven spots (with a few honorable mentions) and we’re keeping the timeline to the year 2000 up until now. Let’s get into it.

7. Cruel Santino – ‘Suzie’s Funeral,’ ‘Mandy & The Jungle’ & Subaru Boys: FINAL HEAVEN

There was something special about Cruel Santino right from the start. His early works, the 21-track mixtape ‘Diaries Of A Loner’ and ‘Birth Of Santi’ introduced him as a reclusive rap artist who was not shy to experiment. While there was still some restraint on his first two projects, largely favoring Hip-hop inspired production and flows, ‘Suzie’s Funeral’ represented a turning point that would kickstart an impressive run that established him as a shapeshifting musical genius. The release of the project also coincided with the rise of the innovative alte scene and Cruel Santino’s successive releases – 2019’s ‘Mandy & The Jungle’ and the conceptually dense follow-up ‘Subaru Boys: FINAL HEAVEN’ – not only enforced the Edo native’s ingenuity but it also contributed heavily in giving legitimacy to a scene that has been met with apprehension and scrutiny since its inception.

 

6. Reminisce – ‘Alaga Ibile,’ ‘Baba Hafusa’ & ‘El-Hadj’ 

Although ‘A Book Of Rap Stories,’ Reminisce’s debut, mostly highlighted the rapper’s hit making abilities, it was through his latter three albums that he truly established himself as a gifted lyricist and a well-rounded act who is not afraid to take risks with his styles. ‘Alaga Ibile,’ his sophomore, showcased his musical dexterity as well as his rap credentials: cuts like the Sarz-produced “Fantasi” find Reminisce employing an infectious Fuji flow over a beat that sounds like it takes influences from both Electronic music and Afropop, while the Olamide and Endia-assisted “Government” served as a ceremonious call-to-arms that proved Reminisce was not one to mess with. ‘Baba Hafusa’ and ‘El Hadj,’ both of which debuted on the US Billboard World Albums chart, also put the 43-year-old’s eclecticism and, most importantly, his mastery of words, on display; cementing him as one of the best rappers of his generation.

5. Asake – ‘Mr Money With The Vibe,’ ‘Work Of Art’ & ‘Lungu Boy’

After years of tinkering with various styles and sounds, Asake found the perfect formula in the early parts of 2022, blending Afropop, Fuji music and Amapiano together for distinctive medleys that were garnished with choral vocals and became one of the long standing highlights of his breakout year. This unique alchemy is what powered his first two hit-laden projects ‘Mr Money With The Vibe’ and ‘Work Of Art,’ both of which are undeniably modern classics. ‘Lungu Boy,’ his third album in as many years, stripped back some of the vim and the turbo-charged production of his earlier projects and while the result is perhaps not as impressive as what he managed with his debut and sophomore, the album still delivers a handful of memorable records that underscore the 29-year-old’s dynamism and ambitions to push the boundaries of his highly infectious sound.

 

4. Asa – ‘Asa (Asha),’ ‘Beautiful Imperfection’ & ‘Bed Of Stone’

Asa has a near-perfect catalogue. Across her illustrious career, the acclaimed singer-songwriter has delivered five stellar studio albums that have helped distinguish her as one of the most gifted and eccentric artists of her generation. It’s, however, her first three records that really made her standout. ‘Asa (Asha),’ her compact, eponymous debut which was largely constructed alongside legendary artist-producer Cobhams Asoquo, introduced the singer’s moving soul-alto which sat comfortably atop gentle guitar strums and Reggae-Gospel arrangements as she sang passionately about estranged lovers and the dire state of the country. Her 2010 follow-up ‘Beautiful Imperfection’ trades some of the melancholy of her debut for a wider range, delivering evergreen cuts like the upbeat “Be My Man,” while ‘Bed Of Stone,’ which came four years after her sophomore, completed an impressive trifecta, once again delivering a memorable body of work that proved the singer is in a league of her own.

 

3. Olamide – ‘Rapsodi,’ ‘YBNL’ & ‘Baddest Guy Ever Liveth’

Two things are consistent about Olamide: cigarettes and projects. Since the rap veteran debuted in 2011, he has released a body of work (collaborative and/or solo) every year since, barring 2019. It is, however, the YBNL boss’ first three albums that are arguably his best yet: ‘Rapsodi,’ which was released under ID Cabasa’s Coded Tunes label, earmarked Olamide as a highly talented rap star in the making, but it’s 2012’s ‘YBNL,’ which he released under his newly formed label at the time, and his magnum opus ‘Baddest Guy Ever Liveth,’ that established him as a superstar who was largely responsible for ushering in a new era of indigenous rap music.

 

2. Burna Boy – ‘Outside,’ ‘African Giant’ & ‘Twice As Tall’

The release of ‘Outside,’ Burna Boy’s third studio album, represents a watershed moment in the self-proclaimed African giant’s distinguished career. A few months prior, the fusion artist who had showcased his immense talent on earlier albums ‘L.I.F.E’ and ‘On A Spaceship,’ was struggling to connect with his core audience due to his inconsistency and numerous public antics that alienated a large swath of his fanbase. ‘Outside,’ however, signified a fresh start for Burna Boy who went ahead to have arguably the greatest creative run the country has ever seen following the album’s release. ‘African Giant,’ which came in 2019 earned him a nomination for Best World Music Album at the 62nd Annual Grammy Awards and his follow-up ‘Twice As Tall,’ helped him make history, as he won the Grammy award for the Best Global Music Album, becoming the first Nigerian artist to pick the highly coveted music award.

 

1. P-Square – ‘Get Squared,’ ‘Game Over’ & ‘Danger’

It’s a testament to P-Square’s insane depth of quality that any three of their first five albums could make this list. While the famed duo boast a pristine discography, albums two to four are where their legend was truly cemented. Even though their 2003 debut ‘Last Nite’ helped the duo gain some recognition – especially with classic cuts like “Senorita,” – ‘Get Squared’ is what really launched the duo to superstardom. The follow-up, 2007’s ‘Game Over’ was revolutionary, as the duo embraced a slightly different but more ambitious stylistic approach to both their music and the accompanying visuals. The decision paid off massively as the album reportedly sold over 10 million copies worldwide and they capped off their awe-inspiring run with the release of ‘Danger’ which bookends perhaps the greatest three album run the country has seen since the turn of the century.

 

Honorable Mentions

 
Kizz Daniel – ‘New Era,’ ‘No Bad Songs’ & ‘King Of Love’

In retrospect it’s hilarious that Kizz Daniel was thought of as a one-hit wonder who was limited in his stylistic scope early on in his career. He beat those allegations fairly easily with the release of ‘New Era,’ his incredible debut that scooped up the Best R&B/Pop Album award as well as the Album Of The Year award at the 2016 Headies. His ambitious follow-up ‘No Bad Songz‘ was arguably even more impressive but 2020’s ‘King Of Love’ unfortunately pales in comparison to his first two works. While the album houses a few hit records like “Fvck You” and “Jaho,” the memorable moments are few and far between, something that his earlier projects had in abundance. 

 

 
Wizkid – ‘Superstar,’ ‘Ayo’ & ‘Sounds From The Otherside’

Not much needs to be said about ‘Superstar.’ It’s an undeniable classic and one of the greatest debuts in Nigeria’s music history. While ‘Ayo’ didn’t quite receive the kind of acclaim ‘Superstar’ got, it’s a very strong body of work in its own right. Evergreen cuts like “Jaiye Jaiye,” “Show You The Money,” “In My Bed,” “Joy” and the timeless “Ojuelegba” ensure that the album is also firmly etched in Nigerian music canon. Wizkid had lofty ambitions with his third studio album, showing his versatility as he attempted to bring more  global exposure to Afropop. While the album remains significant in Wizkid’s career and our collective musical history for a number of reasons, it sadly failed to resonate with the singer’s home-based fans the way his earlier projects did.

 

 
M.I – ‘Talk About It,’ ‘M.I 2: The Movie’ & ‘The Chairman’

Of all the albums and mixtapes that M.I has put out over his extensive and decorated career, none has been below par. His strongest run, however, remains his first three studio albums. 2008’s ‘Talk About it’ introduced M.I as the hottest rapper on the block but it was the cinematic ‘M.I: The Movie’ that truly established the rap legend as a creative and lyrical genius who stood head and shoulders above his peers. 2014’s ‘The Chairman’ would have completed a perfect three album run but the project suffered from a lack of focus and a host of supporting cast (26 features in total) that left it feeling stuffy.

 

LET US KNOW WHO YOU THINK WE’RE MISSING OUT OF THIS LIST






How Weed Became Afropop’s Most Propulsive Muse

Posted on by Tilèwa Kazeem

“Catch am! Hold am! Slap am! Chase am!” Those were the words that energetically echoed into Fela Anikulapo Kuti’s well-worn wired microphone. He continued to fiddle with and unknot the clumsy wire until the end of his rehearsal of the remarkable and thoughtfully controversial “Authority Stealing.”  Yet for a song so direct, provocative, and still painfully relatable years later, his demeanour was devoid of agitation. The tender chorus of his wives – his backup singers – cocooned his signature raspy, voice-of-the-voiceless tone with their unforgettable ad-libs: “Catch am, catch am, e be thief! Catch am, catch am, e be rogue!”

Throughout the rehearsal session, as the audience’s eyes adjusted to his blue underwear riding dangerously beyond the jurisdiction of his waist, his index and middle clung ever so slightly to a joint – or, as the locals call it, igbo – known for its calming, soothing effects. After it slipped from his fingers and violently crashed to the floor, both fingers knew they couldn’t let go again. From that moment on, as they had done before and would distinctively continue to do until Fela passed, they clenched tightly.

Decades later, Afrobeats – distinguishing itself from its progenitor, Afrobeat, which Fela pioneered – not only inherited the instrumentalism and je ne sais quoi of Afrobeat, but also, its sacred stash of weed. A muse if you may, that many would argue has served the genre and its evolution fruitfully over the years, especially now.

In the early 2000s, weed’s involvement in Afrobeats was a reflection of Nigeria’s attitude towards the substance. On Prof Linkin’s 2003 track,  “Jogodo,” he raps about how getting caught by the police means you’re headed straight to Kirikiri Maximum Security Prison. Similarly, in Danfo Driver’s “Semsimilla” released the same year, the line “if you be army or police man, we no go open the door” captures defiance, even as the song celebrates weed. It doesn’t shy away from telling the story of fear and caution around the usage of weed. Today, with strains like Loud, Arizona, Colorado, and Canada widely available in Nigeria, the deference that older performers showed towards the criminalisation of weed has faded. It’s almost nonexistent now, as weed is now a norm and its scent, a familiar smell to all.

The proliferation of weed culture within contemporary Afropop is perhaps best exemplified on Burna Boy’s 2022 global smash record,‘Last Last’. With its searingly infectious hook, “I need Igbo and Shayo,” the track not only dominated the Billboard U.S. Afrobeats Charts – spending eight weeks at #1 and 74 weeks in total – but also highlights how inseparable weed is from the fabric of Afropop, woven deeply into its creation, sound, cultural aesthetics, and identity.

Beyond Burna Boy, many Afropop artists have increasingly embraced cannabis references as part of their artistic identity. Weed is now a recurring motif in lyrics, almost a marker of initiation into the culture. For instance, Fireboy DML solidified his place in the genre’s unofficial “Igbo Smokers Hall of Fame”with the unforgettable line, “I done dey smoke igbo,” from “YAWA” off his latest album, ‘adedamola.’

Another artist whose relationship with weed has evolved publicly  is Blaqbonez. In an interview with YouTuber, Korty EO, three years ago, the rapper and Afropop artist claimed he doesn’t smoke and never has. On his sophomore album ‘Young Preacher,’ he reiterated this on the track “HOT BOY,” saying, “Incase you don’t know, I no dey smoke igbo.” Fast forward to 2023, and there’s a noticeable shift in his stance. In “BAD TILL ETERNITY” from his third studio album, ‘Emeka Must Shine’ he sings, “smoke igbo for my sanity,” suggesting a more nuanced relationship with cannabis.

Global star, Rema, also falls into this category. While it might seem as though the rave lord couldn’t wait to announce his newfound dalliance with weed, it wasn’t always like this. In 2019, the award-winning singer tweeted “I don’t drink or smoke but what I inhaled that night took me to Mars!”  In 2022, he’d later again tweet, “If Big Wiz [Wizkid] pass the blunt, I’ll smoke.”

While talking about weed may seem cool on records and social media, the reality on Nigeria’s streets is far from glamorous. Marijuana remains illegal, despite Nigerians being its highest consumers in Africa. Recently, the #Smoke-Free Nollywood campaign by the National Film and Video Censors Board (NFVCB) even reinforced their stance against promoting smoking in films and music videos. As a young person in Nigeria, you’ve likely been stopped and searched by the police at some point, and accused of possessing marijuana. What starts as a routine stop can easily derail your entire day. However, instead of ending up in federal prison as the music once suggested, today you’d probably just need to post bail.

Despite endless crackdowns and frightening cautionary tales, many Nigerian creatives, like singer-songwriter Buzz* remain undeterred. With one of the biggest songs of the year, bearing a weed-inspired title, Buzz has no intention of quitting. He loves it, regardless of how many jabs other artists like Adekunle Gold might take at substance use. Contrary to the idea that smoking weed makes you study or work better, Buzz doesn’t see it as an elixir for inspiration. “It enhances it, something I call 3D reasoning,” he tells The NATIVE. “The varied experiences people have with weed also shape how they interpret weed-related content. “Most people have had personal experiences with weed, whether good or bad.”

Directly or indirectly, weed’s reputation precedes it, and that has boosted its relatability and visibility. Despite its illegality, cannabis lingo is embedded in Nigerian culture and daily life. This influence is also evident on the music charts, where many of the year’s biggest hits have been shaped by the aesthetics of weed culture.

Since the release of “Awolowo,” by breakout artist Fido, the track hasn’t dropped below the Top 10 on the Spotify Daily Charts and currently sits in the top five at of the time of writing. Only the powerhouse duo of Asake and Wizkid – two artists who have, interestingly, both woven weed into their identities – are keeping the newcomer from clinching the top spot on Apple Music Top Songs Charts. Fido attributes the creation of his smash hit to hunger – both literal and metaphorical – and the companionship of ganja. “My producer and I hadn’t eaten anything at all. That day, Nigeria was just hot. There was fuel scarcity everywhere, and political issues were adding to the pressure,” he tells The NATIVE.  “I asked myself, ‘How do I do it?’ Then, as the producer played the sound, I found myself ‘talking with the most high.’”

During the second quarter of 2024, consumers were excited to receive not one, but two bespoke interpretations of emotions further amplified by the symbolism of weed. Ayo Maff’s “Dealer,” featuring Fireboy, and Kaestyle’s “My Dealer,” which includes contributions from Omah Lay and, later, Kizz Daniel, in a remix. Buzz doesn’t entirely agree with the notion that weed is the sole driver of these songs’ popularity. “A good song is a good song,” he explains. “I can’t say the weed element alone makes it popular, but it does contribute to its appeal by automatically attracting a target audience. Those who discriminate against weed often dislike those records as well. From personal experience, I’d say a weed song with solid lyrics, an inspiring agenda, and strong wordplay will definitely resonate with listeners.”

Take Ayo Maff’s “Dealer” as an example. His approach on the song is retrospective, reflecting on the paths he, his friends, and, more broadly, today’s youth take to reach their zenith, as well as the muddy waters they must wade through to get there. The poignant lines, “Cana sa ni, ka ma sa. Omo oro mi ma lo sa,” followed by “Ti’le ba ti mo, ma pe dealer mi,” symbolise living in the present while looking back pensively at past struggles and appreciating the journey, seemingly shared with friends over a blunt. Fireboy also contributes to the subject matter, first acknowledging God as his go-to in times of worry and deep reflection, but elucidating that he seeks a different type of absolution – one that only his dealer can provide.

In contrast, Kaestyle’s “My Dealer” offers a different perspective, taking listeners on the scenic route through matters of the heart. The character is unapologetic about his actions, particularly in cutting off a woman who has overestimated her importance in his life. On this track, his dealer assumes dual roles: that of a friendly ear or therapist and, more prominently, the connoisseur of the weed Kaeestyle uses to douse his sorrows.

Both Omah Lay and Kizz Daniel adeptly tether themselves to the plot, adding their unique perspectives. The list of artists doing this continues, with Odumodublvck’s debut album ‘EZIOKWU’ littered with weed references and Asake’s memorable “Gbe kolos, emi nikan ole solo. E be like say ye, I done kolo. Jago say, “Na lie” uhn-uhn, say na igbo” line on Victony’s “Stubborn,”’ alongside Omah Lay on “Holy Ghost” paying homage to weed while charting highly upon release.

Truth be told, 2024 broke the dam in terms of how many songs reference weed and the culture around it . Several global Afrobeat(s) pioneers have indulged in cannabis to varying degrees, with some having left an indelible mark on the genre. Whether listeners embrace it or recoil in disdain, it’s clear that weed inspires tonnes of acts and is helping to open a new lane of expressionism in Afrobeats as the genre  polishes its gleaming international image. Baked into the proverbial national cake, the daily bread we fervently chase contains not just the hunger for success, but also the inescapable allure of igbo.

In a country where the scent of cannabis lingers amidst the chaos, Afropop has turned this once-taboo substance into a muse, celebrating creativity born from the haze of smoke. This duality – where the coolness of cannabis meets the harsh realities of its legality – paints a complex picture of a genre that continues to shape cultural conversations. As we light up, metaphorically and literally, we should consider not just the music but the narratives we’re weaving. The rhythm of Afropop echoes the pulse of a nation, and in its melodies, the homages to  igbo remind us that creativity often blooms in the unlikeliest of places.