Being a sinistral in Nigeria, as told by left-handed Nigerians

Posted on by The Native

All too familiar with the discrimination that comes with being a lefty,  freelance writer Bolaji Akinwande speaks to sinistral Nigerians about their experiences of left-handedness in the traditional society.

Research finds that an estimate of 10 percent of the world’s population is left handed, leaving the greater proportion of human beings right handed. Ambidextrous (people who use both the right and left hand equally) are only about 1 percent of the population, and in modern times, it’s believed that ambidexterity emerges when originally left handed people were trained or forced to get accustomed to using their right hand, resulting in no dominant hand, but an ability to use both to equal effect. 

Nigeria is deeply rooted in religious/traditional credence that houses certain fallacies, passed down through generations, and still on the verge of being taught to and adopted by future generations. With the help of social media, however, and most importantly thanks to the Millennials, efforts to re-shape our mentality and views have stirred up; from conversations centering around the erasure of rape culture, to sensitisation of mental health issues and the advocacy for women to be more respected society. Being a sinistral (left handed) has come with quite extraneous baggage, owing to traditional myths tied with your preference of hand, thereby encouraging discrimination.

Nigerian media personality, Kemi Smallz had her share of discrimination of handedness recently, tweeting that a delivery guy insisted she collect a package using her right hand, despite not knowing her dominant hand. What becomes clear from the context is that the delivery guy ascribes to the superstitious perspective that a certain hand is more felicitous than the other. While she might be and might not be left handed herself, the incident that transpired as Kemi Smallz collected her delivery is one that deeply resonated with myself and other individuals who are sinistrals, and have found themselves being similarly chastised for a preference with which they are simply born. So, to illustrate the difficulties of manoeuvring everyday life as a left-handed person in the conservative society of Nigeria, I reached out to some sinistrals to share their experiences of living in a country where the majority of its people are intertwined with orthodox beliefs concerning handedness.

 

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“Traumatic is the least, at some point I felt probably I was from the devil himself”.

The above quote came from Nkirukamma. From being told the left hand is of the devil to getting hurtful comments from her grandmother while eating, Nkirukamma shares the negative outpour that has come with being a ‘lefty’, in the Eastern part of Nigeria, Enugu.

“Using your left hand means you are not on the right hand of God. My grandmother wouldn’t let me eat from the same plate as her; ‘is this how you will be eating when you are in your in-laws house? You will be chased away and they won’t allow you [to] cook for them.'”

Though it was made very clear by her parents, from when she was still a child, that she had chosen to be identified as a sinistral and there would be no such circumstances that would make her become an ambidextrous or (right handed), the comments Nkirukamma received from others made her consider conforming in her teenage years. She remembers being scared of writing in public,

“Whenever I go to the bank, I would have to hide in a corner to write on my withdrawal or deposit slip, because when people saw me using my left hand they’d question why my parents allowed it – I was a girl and it wasn’t suppose to be allowed. Some bankers wouldn’t even take my slip from me unless I used my right hand, I felt like an alien in  this world. It made me withdrawn, scared and unwanted, my safe place was my home, that’s where I felt normal because my siblings didn’t see me [as] any different.”

Nkirukamma hated going out as a child, she couldn’t bring herself to believe the fact that she is/was a normal kid – society placed all sort of negative pressure on her. “Being left-handed was worse but also being a woman worsened things for me.” But finding acceptance in her later years nurtured her boldness and journeyed her to a place where she feels better as an individual.

“I’m married now, got married to a man who is also a sinistral. Being one myself isn’t a problem because it totally feels normal, we have a child now and we don’t mind if all our kids are left-handed or not including our female children. Funny thing is, my in-laws haven’t chased me away because I’m left-handed, what my grandmother believed. I’m really [in] a better place because the people who matter accept me. I don’t care what other people have to say, they don’t get to me anymore.”

While Nkirukamma isn’t letting all the BS about being a sinistral get to her anymore, another individual recounts the most traumatic ordeal she has ever faced for being left-handed.

“It all started when I took a cab to class with my friend in school, I couldn’t reach for my bag/pocket because the cab was kinda tight, when I and my friend dropped I was able to sit up properly and pay the driver our fare only for the gesture to turn into him hurling abusive words in Yoruba Language [asking] why on Earth I would give him money with my left hand. He ranted about how my parent didn’t train me and all that. The whole scenario drew attention [from] passersby, [in the end] my friend pulled the money from me and handed it over to him with her right hand and dragged me away from the whole scene. I honestly felt numb throughout that day, I kept replaying the whole incident in my head. Though after some days I got over it, I’m not sure I will ever forget the whole ordeal.”

Prior to that incident happening, Bibiirekosefowora  doesn’t remember a previous experience more triggering than the above trauma. For her, there have been a good number of occasions where she has been ridiculed for using her left hand, though she remembers that none of these instances came from her parents, but from outsiders.

Faith, another sinistral I chatted with who had a lot to “get off her chest”.

“For starters, the reason I wasn’t “changed” was because I refused to, because I feel there is nothing wrong with being left-handed”

“Sorry i went off on a tangent,” she apologises after pouring out her mind to me. Faith wasn’t really frustrated when being beaten for using her left hand, getting shouted at for eating with it or being chased from a vendor in the market for using the “wrong hand”  to pick stuff because it is believed to “spoil one’s market”. All this wasn’t frustrating because she believed it was all being done to her face. “I knew what I was fighting against, external and internal superstitions and trash traditions. What pissed me off were the micro aggressions, the ones I couldn’t really get angry about but still frustrated me, the using of certain chairs and tables not designed with left-handed people in mind, the everyday appliance or object that makes life just a little pissy. There are downright offensive quips like, ‘you eat with the same hand you wipe your ass with’ and there are complimentary ones like, ‘that means you’re smarter than the average person’, both instances serve as an insult and as an expectation. Life is hard enough for a left-handed person, especially one growing up in a country like Nigeria, we don’t need more external baggage. For the most part, the culprits are superstition, tradition and religion.”

The belief that sinistrals are smarter than the average person is met with a skeptical stance by Faith. “My dominant hand being my left doesn’t make me smarter than someone that’s right-handed, I used to wear that false belief like a badge of honour ‘till I realised, if I want to denounce the negative stereotypes, I also have to denounce the positive stereotype – positive being subjective because that stereotype in particular puts an expectation on left-handed people in positions of power or intellect, not because they’re the majority but because they’re a minority. We don’t say all right-handed people are smarter than left handed people despite them being more in number in places of intellect and power. It all comes down to talent, hard work and a shit ton of luck.”

“Mostly, I was considered rude by people. Whenever I stretched out my left hand, I used to apologise though”

For Mejoke the most shocking myth she has ever heard associated with being left-handed would be from her grandmother, “she gave me a tough time while growing up because I was a lefty”. Mejoke’s grandmother disallowed her from serving herself from her cooking pot as she believed the food would “go sour” if she did. 

“It was embarrassing walking into a shop, and when you pay using your left hand, you’re told to pay with the right hand instead”

An anonymous sinistral told me. While this particular incident happened quite a long time ago, it left a consciousness in him to remain firm with his choice to identify as a lefty. He remembers having quiet an outburst and taunting back saying,  “if it was Barrack Obama who had chosen to pay using the left hand, would such gesture be met with a disapproval.” He recalls walking out of the shop. “People tried to make me change though, but it never happened,” he added.

Speaking to Valarie E Ugboke, a psychologist based in Abuja on some of the psychological effects that comes with the discrimination against sinistrals, she shared with me: “Discrimination against left handed persons can lead to a number of mental health related illness such as depression and anxiety, this is not a direct correlation but a number of factors in combination with such discrimination could result in these.“

Another psychologist, Olivia Alabi of 360psyche – a Lagos-based psychological mental health practitioner – shares with me the ways by which some certain traditional/religious myths fueling handedness can be exterminated: “Reorientation; people need to be reorientated just like in the days when the birthing of twins was an abomination and they were killed, people were reprimanded that their beliefs was barbaric, another way is through mental health education. Individuals needs to be aware that their stance may be detrimental to the mental health of others. Awareness should be encouraged and the need for why an unhealthy mind is toxic to to the society is also needed to be addressed“

She also added, “The government has an important role to play in the abolishing of traditional/religious beliefs tied with left-handed individuals. Lefties make up a significant amount of the society; there should be policies or technological innovations created to support and protect such a minority group. With this, it widens the room for the acceptance of sinistrals.”

While the world we live in is generally built to cater for the right-handed people, lefties should be allowed to express with the hand they prefer, they shouldn’t be subjected to conforming or discrimination. We as individuals need to unlearn myths associated with handedness and stop dwelling on fallacy. It all comes down to acceptance and respect for the choices people make. No trauma or discrimination should be associated with being left-handed. Normalising the left hand as the dominant manus is very essential for a better community. 

Featured Image Credits: CNN

Bolaji Akinwande is a freelance music/culture writer based in Lagos. A fashion enthusiast, Bolaji listens to music like his life depends on it. Tweet him your playlist @Rrrrrrrrboi

ICYMI: MUSIC THAT MAKES US PROUD TO BE NIGERIAN

How fashion could greater influence the music industry in Nigeria

Posted on by Tami Makinde

Back in 2018, when Wizkid casually strutted down the runways of Milan, clad in a gold-studded ski mask and embroidered jacket for Dolce & Gabbana, a part of me couldn’t help but wish that he had made this remarkable debut for a Nigerian brand. Growing up, you’ll probably remember watching your favourite music videos on MTV and catching glimpses of your favourite artists adorned in luxury brands and designer items while toasting to the good life. It was commonplace – and it still is – for artists to use their music to brag about their successes or rap about their ambitious hustle in opulent fashion; luxury and wealth are ingrained in the fabric of music, particularly within the hip-hop community.

Over the past few years, many luxury brands have featured artists in their advertisement campaigns and in turn, been given branded product placement in artist’s videos or social media. Many rappers realised the power of personal branding which means something more important than a T-shirt, baggy jeans, or a tracksuit. Branded product placement within rap music and fashion became a means of expression for those who wanted to flex their newfound success and comfort of their celebrity lifestyle, and in essence, brag about their wealth.

Whether it’s Jay-Z assembling the rich and wealthy in “Roc Boys” or Lil Kim setting the coloured Versace hair trend in motion, or even Nicki Minaj forming an exclusive collection with the designer brand, Fendi following her famous “fendi prints on” line from her 2018 release “Chun-Li”, artists quickly became tastemakers for an entire generation. Brands also saw an avenue to capitalise on artists’ influence, a collaboration that in turn helped these artists improve their streaming numbers if the collection was tied to an album or song release. 

Music and fashion have been inextricably linked over the decades, but here in Nigeria, the links between the two have always been somewhat tenuous. When hip-hop made its entry into the Nigerian shores, back in the ’80s and ’90s, rappers wholly adopted the American ‘90s hip-hop culture, donning baggy shirts, jeans, and dungarees inspired by the tastes of the musicians they were watching from the West. Given that the order of the day was a wholesale adoption of Black American hip-hop culture, there was no embrace of the fashion houses that were in existence in Nigeria at that time.

The rise of afropop acts like Wizkid, Tiwa Savage, Burna Boy, Yemi Alade, Davido, and more, at the turn of the decade, saw partnerships bloom with banks, telecom providers, and multinational brands as businesses were keen to partner with these promising acts who were amassing cult followings through the burgeoning afropop genre. But despite the buzz these artists were generating, the fashion industry – which was marred by its own problems, such as funding, and as such had very little understanding or appreciation of African artists and how to capitalise on their growing success – was left out of the collaborative promotion process.

The lack of structure plaguing the fashion and entertainment industries has meant that verifiable data is hard to come by and, without data, it becomes difficult to prove that clothing brand collaborations, international or local, will bear tangible fruit for both the artist and the brand. Take, for example, the 2018 spat between Nicki Minaj and Travis Scott where his ‘Astroworld’ album beat Nicki Minaj’s ‘Queen’ to Number One on the coveted Billboard 200 charts, with help from a generous assortment of merchandise bundles – T-shirts, hats or hoodies, digital downloads, pre-sale concert tickets, and more. Minaj complained that Billboard should change its rules concerning counting albums sold within merch and ticket bundles because of its role in boosting chart position and revenue for the artist. Her concern was not unfounded, and showed just how much the fashion industry and the music industry work hand in hand to promote sales and revenue for artists.

Here in Nigeria, we seem to only just be wisening up to this, delayed, as usual, by infrastructural issues: There no a verifiable one-stop-shop for accounting for music streams across all DSPs in Nigeria. There is some data – such as the Apple Music Top 100, and the music chart publication, TurnTables, which accumulates charts across different channels such as Triller, TV, airplay, and more – but pertaining to a verifiable source for all cumulative streams, there is little data. In recent years, however, as the music industry’s infrastructure continues to develop, the relationship between musicians and fashion – specifically through merchandising – has been cultivated and fortified.

 

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Over the weekend, Wizkid revealed the official ‘Made In Lagos‘ jersey, in collaboration with athletic footwear brand, Puma. Earlier this year, to add another layer to the multifaceted universe he forged back in May 2019, Santi rolled out ‘Mandy & the Jungle’ gift boxes, including an exclusive song, a signed poster, and of course a ‘Mandy & The Jungle’ tee, in celebration of the album’s first anniversary. Similarly, to commemorate a year of ‘rare.‘ Odunsi (The Engine) re-released the album in the format of the ’80s/’90s music that so heavily influenced his production, sharing limited edition vinyls, including two new songs for his devoted fans. Though no clothes were attached to this bundle, Odunsi’s move to promote his debut a year later, through yet another release, speaks to the emphasis of branded releases artists have been more closely paying attention to, in recent years.

One of the first whisperings of musical talent taking advantage of  fashion’s broader reach in a deliberate and cross-promotional way, was when Davido launched his capsule collection with one of Nigeria’s most prominent fashion houses, Orange Culture. Now known for their collaborations with influential Nigerians – actors Temi Otedola and most recently Denola Grey, have both created Orange Culture collections – Davido x Orange Culture’s Selfridges debuting collection centred around promotion of the first song from his unforgettable 2017 single run, “If”. A clear merchandising move, in which fans of both Davido and high fashion could literally wear the hit single, Davido’s Orange Culture collaboration was followed a year later by Wizkid’s Starboy jersey, designed by Nike who have been imperative in strengthening the bond between streetwear and music. On ground, labels like Vivendii and Daily Paper have made strides in doing so too, the former creating the merch for Odunsi (The Engine)’s ‘rare.‘ tour, the latter teaming up with Wizkid last year for another edition of Starboy merch.

Official figures on how many of these merchandise sales actually helped boost streams are still difficult to ascertain, due to the lack of verifiable data, but the fact that it hasn’t stopped more artists from taking an interest in building worlds beyond music and diversifying into fashion and style, proves that the venture has been more than lucrative.

 

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Recently, Burna Boy debuted his collaboration with Boohoo Man, an exclusive collection of streetwear arriving in promotion of his recently released third major-label album ‘Twice As Tall’. Heralded as authentically out of the rapper’s style book, the new collection was created in design studios from Lagos to Manchester featuring 120 pieces co-designed and executed through virtual meetings during the coronavirus-induced lockdowns. As his first proper debut in the fashion industry, it is important to notice how much thought and effort was put into this collaboration. As an artist who has been around for quite some time and has amassed such a huge following of people who look up to him – not only for the music but for the fire kicks, the clothes and the jewellery – Burna Boy needed to deliver merch that stood twice as tall amongst the previous collaborations his counterparts have ushered out over the years.

Speaking to his sister and stylist, Ronami Ogulu shared that Burna Boy’s collaboration with Boohoo was really important for the rapper. “He choose to collaborate with Boohoo as a way to give his fans access to the items on the line, he could have collaborated with Gucci or other high-end designers but accessibility was very important for his first collection,” she tells NATIVE. The collaboration was just another vessel for Burna Boy to capture this moment in his life, using fashion as a second means of communication for his artistry and self-expression. With Boohoo also shipping to Nigeria (for one week only), Burna Boy has found a brand that aligns with his family-oriented disposition and one that elevates his brand and adds another distinct layer to Burna Boy’s renowned.

The clothes from this new collection speak to a willingness in Burna Boy to build around the sonic world he has created with ‘Twice As Tall’ giving fans and followers the access to immerse themselves further by donning styles selected by him which cover every single occasion, from loungewear to occasionwear and more. While this is a worthy step for the African Giant, it would have been huge to see this worthy fashion moment bestowed on a Nigerian or black-owned brand (as Davido did with his “If” tailored merch) who deserve all the hype. Especially after the events of this year, considering the disproportionate ways in which many African-brands have been affected by the global health pandemic and its ensuing effects, African or Nigerian brands would have been a more glorious fit for the self-proclaimed African Giant.

 

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Still, Burna Boy’s collaboration makes clear of one thing, Nigerian artists are increasingly seeing the value of branded collaborations with fashion brands, however, it takes two to tango so for the two industries to truly benefit off each other, Nigerian brands must also be willing to collaborate with musicians.

Releasing teasers to his boundary-pushing EP standout, “body count”, Odunsi (The Engine) and Mowalola pioneered a moment between music and fashion in Nigeria, typical of the characterisation of the hip-hop cultural movement. Styling the quartet’s Sims avatars in exclusively Mowalola, the maverick artist-producer and Yeezy co-signed designer are hailing in a time where our music videos will be lined with It Nigerian designers, turning them into sights for the Nigerian people to spot new trends, discover new brands and lust after the wealth that affords our musicians these home-grown luxury labels. With afropop at the forefront of conversations emerging from the continent, now is a good time than ever for fashion stakeholders to place their bets and ‘fits on these artists, and capitalise on the self-sustaining cross-promotion that collaborative ventures between fashion and music have to offer.

Featured image credits: BurnaBoy/Boohoo

Hell hath no fury like Tami. Tweet her your fave female rappers @tamimak_

ICYMI: Nike unveils new jersey kit for Nigeria’s Super Eagles and Super Falcons

Why Nigeria can’t & shouldn’t be aiming to ‘own’ Amapiano

Posted on by Dennis Ade Peter

Mayorkun. Rema. Niniola. These are three notable Nigerian artists who have, in recent times, released songs heavily indebted to Amapiano, the South African House subgenre which rose to unquestionable dominance in the South African music mainstream last year. The adoption of this sound by these three mainstream artists is an indicator that more Nigerian artists will take to Amapiano in the near future. While this is positive validation for the creative quality of Amapiano, and will undoubtedly further the subgenre’s popularity, Nigeria has a tendency of taking on music from across African borders without giving due respect to its originators.

Back in July, Rema put out the phenomenal “Woman”, the final drop of an impressive 3-single run, a song which could easily been touted as the biggest songs this year. Upon release, there was an outpour of praise for Rema’s undeniable ability as a hit-maker, but that soon gave way to conversations about the sound he adopted, and its readiness for mainstream success in Nigeria. At their best, there were takes on the myriad of ways we can incorporate Amapiano elements into the distinct quirks of Nigerian pop; at their worst, it was insinuated that more artists adopting the SA House subgenre could lead to the point where we can claim absolute ownership.

In as much as these were takes given in the spur of the moment and can even be defended as harmless banter, there was a sinister sense of entitlement, especially with the latter set of opinions. It’s normal practice in pop music for artists and producers to take elements from existing music styles and refine them for a previously oblivious audience, however, when adopters start parading themselves as originators and outright owners – e.g. white people and Rock music – this is the point at which duplicitous appropriation rears it’s head.

 

While it has always been a fixture, the pace of cultural and creative exchanges between African countries has been enhanced by the ever-evolving internet, meaning that we get to see interesting trends across the continent almost in real time, and interested parties can quickly begin to figure out how to use these newly discovered fads to spur their creativity. It used to take some time, pre-internet. For example. the Makossa craze that overtook Nigeria in the early ‘00s, which had been the mainstream sound in Cameroon for decades prior, gained popularity in the Congo from the mid ‘90s and eventually led to the viral presence of Congolese singer Awilo Longomba within the country’s shores.

With the continued rise of on-demand music streaming, the ability to peek into whatever’s happening several thousand miles away thanks to the internet and social media, and constant pan-African collaborations between artists from different countries, sounds from several sides of the continent don’t have to take the scenic route to popularity away from its point of origin. In the case of Amapiano, it was a matter of how soon – not if at all – the addictive sound would begin to impact the Nigerian pop music scene.

A week before Rema’s “Woman”, ‘I Am the King of Amapiano: Sweet & Dust’, the blockbuster solo debut LP by South African DJ and Amapiano savant, Kabza De Small was released, and it notably contained “Sponono”, a frontrunner for record of the year, featuring vocal appearances by Wizkid, Burna Boy, Cassper Nyovest and Madumane – the former three being amongst the very biggest artists on the continent. On cue, the song quickly became, and has remained, a fan favourite in the Southern parts of Africa, while also garnering a sizeable buzz in Nigeria. “Sponono” is extra proof that these sort of star-studded collaborations can yield creative magic, diverse acclaim and general influence. Evidence of the latter point comes with the inference that “Woman” was recorded three days after “Sponono” came out (I’m not really insinuating direct influence, just pointing out an interesting detail).

Beyond inferences, the creative bridge between Nigeria and South Africa goes back several decades, from Hugh Masekela and Fela Kuti in the 1970s to Burna Boy and AKA in the last decade. The exchange of inspiration between SA and Naija is a two way street, Amapiano is just the latest import traded to us by our southern partners. It isn’t anything less than expected that Amapiano would begin to make its mark in Nigeria, however, as with whatever becomes the toast of the mainstream, the problem lies in our general (mis)treatment of relatively new sounds as something to claim ownership of, or disrespectfully strip for parts.

Following his ascension to widespread popularity on the back of his patented Banku sound – which is heavily indebted to neo-highlife – Mr Eazi played a significant role in adjusting the standard pace of Nigerian pop songs. Although there were strong precursors like Burna Boy’s “Like to Party” and Wizkid’s “Ojuelegba”, Mr Eazi’s distinct style, along with hit songs like Tekno’s “Pana”, helped normalise the flamboyant cool that’s become a signifier of Nigerian pop music.

Considering the roots of his sound and his part in this musical shift, it was a bit shocking to see the singer come under fire from Nigerians for his early 2017 comments about the influence of Ghanaian music on Nigerian music, even though it’s a well-established fact that goes back all the way to Highlife in the 1950s. Rather than take it as a moment of giving credit where it is due, it many Nigerians saw it as an opportunity to assert supremacy.

Due to our sheer influence in determining what’s hot in Afropop, Nigerians often think every musical style that makes its way to popularity over here should solely revolve around us, an arrogance that makes us willing to place our narratives over the actual origins of the sound. In doing this, we come across as bullies who no longer have anything innovative to contribute to the African music canon, and are only on the prowl for influences to take from (sounds palely familiar). Amidst conversations about the global appropriation of Afropop, we should consider it pretty damning that appropriating with reckless abandon is a dominant part of Nigerian music, when all that is required is for us to simply not pass ourselves off as ‘owners’ of a sound we didn’t create.

Following the meteoric rise of “Legbegbe”, Mr Real made it a point to reiterate Gqom – the House variant that combines SA folk with bombastic, Techno-indented bassline – as the sound behind his game-changing smash hit. “I looped the beat and added some other sounds. It’s from an Uhuru song that I don’t even remember anymore”, he admitted to the NATIVE in a 2018 interview, name-checking the prolific South African producer Uhuru and giving direct props to the direct sonic inspiration. “Legbegbe”, alongside other similarly styled bangers like “Oshozondi” and “Shepeteri”, led the Shaku Shaku wave that has now become foundational to Nigerian street-hop music today. Through constant innovation, the sound has mutated and evolved into several dimensions that’s traceable down to Rexxie’s ‘Afro Streets’ as well as Jaido P and Olamide’s recent street banger, “Tesina Pot”.

One could argue that, the adaptation and retooling of Gqom into a sound that’s now inherently Nigerian has to do with its Techno elements, a style of dance music with a proven universality. Pulling off the same process with Amapiano, however, will be a lot more complex due to its musical specificity. Born from a combination of Kwaito, deep house, Jazz and the folk drums of diBacardi, Amapiano is an offspring of sounds deeply embedded in the DNA of South African music. With this sonic make-up, the subgenre is so vividly singular that it’s instantly clear when it’s been adopted, and retooling effects drastic changes such that it can no longer be deemed as Amapiano. It doesn’t mean the sound is limited, it just goes to show how unique it is.

None of this implies Nigerian artists and audiences can’t co-opt and enjoy the warm, strident grooves of Amapiano; what is does mean is that there has to be respect in approaching the sound and purging the idea of ownership. In May, British-Ghanaian DJ/producer Juls put out ‘Happy Place’, a short EP with its fair share of Amapiano-indented songs. “Soweto Blues” and “Tembisa”, the songs with clear influences from Amapiano, are stunning attempts at fusing the sound with his established identity as a purveyor of colourful neo-highlife grooves. Built off his trip to South Africa early in the year and created in tandem with local artists Busiswa and Aymos, Juls foray into Amapiano was clearly built on pure admiration rather than appropriation.

On September 22nd, Spotify brought together several key players for “Amapiano Keys”, a virtual panel event that dug into the rise of the subgenre, its local impact, as well as its growing appeal on continental and global scales. Juls featured in the third section of the event, alongside Spotify exec Phiona Okumu and South Africa-based Zimbabwean singer Sha Sha (aka the Queen of Amapiano) – the trio, despite their varying level of involvements in the Mzansi-originated sound, made it their duty to constantly reference it as such.

Before them, journalist/photographer Setumo-Thebe Mohlimo and several Amapiano artists including MFR Souls, Njelic, Semi Tee and Focalistic featured in the preceding sections, and what struck me the most was the fact none of them referred to Amapiano as a sound, rather they invariably described it as a movement, a culture and a lifestyle. In different words, they described Amapiano as a reflection of the day-to-day life of many South Africans, especially that of the youths who form the bulk of the country’s populations.

Considering this weighty context, it would be disingenuous to continue pushing the agenda, even jovially, of Nigeria eventually owning Amapiano. Having already proved its national dominance, the movement is looking to upscale internationally, which is an agenda we can assist with. As Afropop continues to make global in-roads, Nigerian pop music has dominated a large portion of the attention from the other side of the Atlantic, meaning that we can further Amapiano’s international appeal through collaborations like “Sponono”, respectful and inventive co-opting like Juls’ ‘Happy Place’, and other wholesome avenues that doesn’t involve us erroneously parading ourselves as the owners of the Mzansi movement.

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Dennis is not an interesting person. Tweet Your Favourite Vigro Deep Songs at him @dennisadepeter

AMAPIANO: THE GLOBAL SOUND OF THE SOUTH AFRICAN HOOD

Wizkid, Olamide & more call for the Federal Government to #EndSARS

Posted on by The Native

Yesterday, the internet erupted in condemnation of the Special Anti-Robbery Squad, an arm of the Nigerian Police Force commonly referred to as SARS. Outraged by the alleged shooting and killing of a young man in Delta State by SARS, Twitter users began sharing their experiences of victimisation by the corrupt police force, in a worryingly familiar outcry.

From stories of killings to illegal arrests, torture, extortion and harassment, SARS, instead of protecting the citizens as is their duty, have consistently wreaked tremendous havoc on Nigerian people, particularly the youth, and left us genuinely unsafe. The terror of SARS has been years long and rampant. In 2016, a researcher for Amnesty International’s Nigerian arm, Damian Ugwu found that “the callous workings of a police squad operating outside of the law and inflicting daily brutality on Nigerians who are often legally powerless to defend themselves against criminal accusations, let alone from the torture meted out by SARS.“

Yesterday and today’s demand for reform to #EndSARS, from social media users has been amplified by voices from our musician celebrities, including Dremo, who put our pain into a song, Olamide, WurlD, Don Jazzy, Johnny Drille, Mr Eazi, Naira Marley and more, all seemingly following the example set by Wizkid, who chastised Buhari for paying attention to US President Trump’s health, whilst police brutality plagued his country.

Though The Federal Republic of Nigeria purports to be a democracy, the Nigerian people are pretty much powerless. Our government rarely ever take note of our protests, demands or advocacy. It is commonly understood that for any change to happen, it has to come from the voice of societal elites, such as other notable politicians or public figures of influence.

To see that our musicians are using their privilege to impart good is an admirable sight and one that we encourage them to continue doing. In June, when stories of gender-based violence broke, we were pleased to see celebrities stand up for the rights of Nigerian women, though it was disappointing that a double standard emerged when it came time to denounce their colleagues who had been accused of violence against women. Still, in the age of the Internet, we are seeing celebrities all over the world use their voice to demand justice, and having that here at home is especially powerful.

The Nigerian government have proven many times that the voices of everyday citizens are irrelevant to them, especially the youth who’s demands are never respected. Their statement of action released this afternoon is just further evidence of the fact that only when celebrities within their orbit begin to speak up, the change we have, for so long, appealed for will be taken into consideration. Announcing that “routine patrols and other conventional low-risk duties – stop and search duties, checkpoints, mounting of roadblocks, traffic check, etc” have hereby been prohibited, the Federal Government have also “warned the Tactical Squads against the invasion of the privacy of citizens particularly through indiscriminate and unauthorised search of mobile phones, laptops and other smart devices”. Promising to arrest and investigate corrupt SARS officials who have abused their power, this statement indicates that our Government has been listening and will finally begin to act on dismantling the abusive system of oppression that is SARS. With that being said, promises of reform have been made before to no avail, so we’re not celebrating just yet. Not until we once and for all #EndSARS

Wojumi Is A Bad Bitch And She’s Going To Brag About It. Tweet Her Your Latest Cultural Exploits @Dewoju

ICYMI: SUICIDE PREVENTION: OUR COLLECTIVE RESPONSIBILITY

AV Club: Why ‘Oloture’ is more than a story, it’s real life

Posted on by The Native

As an investigative journalist, it was an uncomfortable watch. As a woman and survivor of sexual violence, I had a lump in my throat watching this film. But these uncomfortable truths need to be told and that’s what ‘Oloture’ did.

‘Oloture’ is a Nigerian Crime drama about a journalist who goes undercover to expose human trafficking and finds something bigger. A refreshing plot long overdue in the Nigerian storytelling space. For one, there’s not a lot of representation of the investigative aspect of journalism on screen. More importantly, there’s not enough documentation of the bad-assery that is Nigerian women committed to making a difference.

Enter Oghogho, a character created in 2013 by journalist, Tobore Ovuorie. No, it wasn’t for a movie, it was for an undercover report by Premium Times. What does this have in common with ‘Oloture’?

Tobore is a multi-award winning journalist who was motivated by the loss of a friend to investigate sex trafficking in Nigeria. Seven years later, Tobore still struggles with anxiety and PTSD from the horrors she experienced during her investigations (which can be found here).

Kiki: My discomfort watching this film must pale in comparison to seeing your story sprawled across the screens I Imagine.

Tobore: I am not regular on social media, my therapist advises that will to help my healing process.

From the trailer alone, I already looked forward to seeing ‘Oloture’, so it was a no brainer that when it was finally available to stream on Netflix, even my slow internet could not dissuade me. Every scene, every character, every plot twist spoke to me. This was probably the most impressive casting I’ve seen in Nigerian film, everyone clearly did their homework and ate up the script. All except the main character.

Sharon Ooja definitely treaded new waters in her role as ‘Oloture’ and there’s a score for novelty. But at the very core, I found it difficult to connect with her as the lead character – in short, she didn’t lead me into the story. This could be an acting flaw, a casting flaw or quite possibly a personal projection as I hoped to see myself, or at least any other investigative journalist I know in the lead character. Where she was described as naive, I saw spoilt instead. This is not a summation of her acting and I’d say overall, given the circumstances, she delivered beautifully.

Omoni Oboli delivered a convincing role of Alero, a sophisticated and experienced trafficker. Omoni has proven that there’s no role she can’t pull off. Alero is quite reminiscent of a very real Oghogho Irhiogbe, a very real trafficker who is still at large, encountered by investigative journalist, Tobore Ovuorie whilst walking the streets of Lagos disguised as a prostitute. “My lucky hunch was to tell her that my name was Oghogho too… She told me I looked like her kid sister and treated me like a favourite from then on” wrote Tobore in her 2013 investigative piece. From here on, it might become increasingly difficult to keep up with what is real life and what is a movie.

Of Orgies and Special Forces (Forza Speciale)

In one scene of ‘Oloture’, Alero has invited her girls to a “VIP Party” where she has instructed them to do as the VIPs please. All the men in the party, presumed to be politicians, have a sex worker on their arm or lap, or on both knees giving them a blowjob. It’s a familiar scene if you’ve ever been to any Lagos or Abuja sex party. Oloture has been invited for this sex party after being called “Forza Speciale”.

Forza Speciale is a term used in sex trafficking rings to separate the “wheat from the chaff” says an anonymous sex trafficking survivor. Women – or “product”, as they are called – are classified based on their desirability. The bottom feeders, termed “road force” lurk the streets of European countries, while the higher classed women are chosen to escort important clients. These escorts are called Forza Speciale.

Tobore documents a similar experience at an orgy and explains the sinister process of choosing a Forza Speciale in this interview with Zam Chronicles. Just like in the movie ‘Oloture’, after the girls are classified into groups, they’re taught a few skills that will supposedly help their journey. A lap dance and cat walking test are some of the dehumanising “trainings” these women have to go through.

They’re made to sign contracts, after which they’re given new passports with fake names. In the film, Oloture is given a Kenyan passport while the character Linda, beautifully played by Omowunmi Dada is given a South African name and passport. There are too many discomfiting similarities in this fictional film and the real-life accounts of Tobore’s undercover travails

I reached out to Premium Times and they confirm that Ebony Life Media wrote to seek their consent on May 30, 2019, which they later granted on June 3, 2019. Tobore still feels alienated from the entire process. She tells me she wishes she was informed before filming had begun.

EbonyLife Media in an official statement made available to us stated that Premium Times, Tobore Ovuorie and all journalists that have gone undercover to tell the truth about human trafficking were credited for inspiring Oloture in the end credits. They further state that Tobore Ovuorie watched Oloture prior to its premiere on Netflix and was aware of its Netflix debut and supported same. EbonyLife has also pledged a contribution to Tobore’s NGO as well as a number of other organizations championing the eradication of human trafficking. According to the legal representative of EbonyLife Media, ‘Oloture’, although fictional, will share similarities with other stories of sex trafficking as these are shared experiences that they gathered from their research and survivors of human trafficking.

“Our goal was to create awareness about the plight of millions of girls being trafficked in Nigeria and we hope with Oloture, we have done that.”

Celine – not real name – is one of more than 4 million victims of sex trafficking worldwide. She was 16, a Nigerian international student in Canada when she became a victim of sex trade. A study from the United Nations’ International Labour Organization estimated 3.8 million adults and 1 million children were victims of forced sexual exploitation in 2016 around the world. 99% are women and girls. Isolation and blackmail were tools used to keep Celine “in check”

‘Joy’ is a 2018 Netflix film directed by Sudabeh Mortezai based on true life events experienced by the lead actor, Joy Anwulika Alphonsusis. This is another heart-wrenching story a lot of Benin people relate to right from the opening scene where a witch doctor performs rites on women about to travel to Italy. This scene is significant. Many women who are trafficked abroad are roped into a lifetime of modern-day slavery, working to pay back the devil’s loan and shackled only by the fear of a “curse” placed on them by witch doctors in Nigeria. It would have been an incomplete Sex Trafficking story if this was not included, and ‘Oloture’ told it all, leaving nothing to imagination. This scene shows the main character, Oloture and the other women completely naked, chanting promises to the gods while being made to give a snip of their pubic hair after which they were made to lay down in a coffin accepting death as a reward for any promises broken – chilling scene.

Variations of this have been experienced by many victims of human trafficking, including Tobore – down to the gruesome murder in the abandoned compound, and she describes this horror as life-changing. Since her experience seven years ago, she’s had several nervous breakdowns, checked into a psychiatry unit and later rehab. When asked if she ever followed up on the story, she replied that she’s been too busy getting her life back together.

Kiki: So what does it feel like, seeing your story being played the way it was?

Tobore says she’s happy she made it out alive because her luck was stretched to the farthest ends and she hopes no one has to go through that again. An unsettling end.

Just like everyone, I was rooting for the protagonist of the film to win, but real life plays out in sardonic ways. When I was done watching, I tweeted my frustrations about the end, not because it was bad, but because it was way too realistic and a little personal for me. That could have been me, or one of my colleagues. It could have been any one of us who went undercover to uncover sexual harassment in Nigerian Universities. When my investigative film ‘Sex For Grades’ was released, I got a lot of comments, including some putting down “other Nigerian Journalists” and that bothered me so much. Besides me actually being a Nigerian, local media is all the horror it’s made out to be and more. For every Kiki Mordi or Kemi Alabi, there’s a disturbing number of Olotures that didn’t make it out and didn’t have the backing to, that got shut down and this is the reality of local journalism. It’s scary for anyone.

Then we have journalists like Tobore, whose publication cared enough to do a risk analysis, but many things still went wrong, and she still lives with that trauma until this today. There is no happy ending. Not in this film, not in real life.

The ‘Oloture’ story ends at Seme border, an expertly recreated set where viewer’s catch a glimmer of hope that perhaps our protagonist might find her escape. Here, we see a glimpse of the porosity of the Nigerian border, another important moving part in the big trafficking picture. No checks, no questions, just a stack of passports and a wad of cash. Here, Oloture sees a chance and takes it.

As in the film as is real life.

Oloture is available to watch on Netflix.

Featured Image Credits: YouTube/Filmladen Filmverleih

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Kiki Mordi is an Emmy nominated Investigative Journalist and a multiple award-winning broadcaster with over 7 years of experience working in various capacities as presenter, writer, voice-over talent, filmmaker and reporter.

ICYMI: “CRAZY, LOVELY, COOL” IS A MIXED PORTRAYAL OF THE NIGERIAN UNIVERSITY EXPERIENCE

Listen to Simi’s new EP, ‘Restless II’

Posted on by The Native

Shortly after the release of her new single “No Longer Beneficial” a few weeks ago, Simi announced that she would be joining the roster of home-grown acts catching the well-seasoned ears of Platoon–the creative company which boasts of over 80 African artists within their ranks including Amaarae, Cuppy, WANI and more. This announcement was excitedly welcome by her fans who had been eager for new music since her indisputable hit “Duduke” was released earlier this year.

Following on from the great news, Simi also announced the release of her highly-anticipated new EP, ‘Restless II’, the follow-up to her third studio album ‘Omo Charlie Champagne’ which was released at the end of last year. Leaning further into her r&b proclivities, the new EP ‘Restless II’ shares much of the same sonic DNA as its precursor seeing as we get more of her romantically-inclined numbers.

 

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‘Restless II’ sees Simi at her most mature yet, and the new mother and wife shows the depth of her lived experiences as she shares her musings on life, love, and passion. With features from UK rapper, Ms Banks, WurlD, and hubby, Adekunle Gold, she puts forward a succinct 6-tracker which traces captivating narratives about romantic love, as she audaciously explores both the good, the bad, and the ugly.

Starting off with the promotional single “No Longer Beneficial”, the project opens up with familiar themes, as she admonishes the men trying to lock her down into serious relationships. Over the guitar-led beat produced by Sess, she sings “No I’m Not Trying To Settle Down/ You’re Looking For Love/ I’m Looking For A Good Time”, a stark contrast to her current married life. This follows into tracks like the WurlD-assisted “Triggered” where she sings about an unfaithful lover who’s been taking her love for granted. Art doesn’t always have to imitate life, and Simi knows that all too well as she’s constantly singing about universal themes of love and pain that many of her listeners will definitely be able to relate to.

On “There for You” featuring Ms Banks, she’s moved past the cheating and unfaithful lovers as she praises wholesome love that serves her in ways that are beneficial to her. She sings about her devotion to remain by her lover’s side, purposely using lyrics that suggest it could be romantic or platonic love. Throughout the song, she affirms her choice to remain by her lover’s side through any weather, as she’s joined by Ms Banks who opts for a rap verse showing her ride-or-die disposition to those who she loves. “City Lights” offers a more soulful inclusion to the project, as Simi embraces her r&b proclivities to deliver a passionate rendition to her love interest.

The centerpiece of the project comes right at the end when she’s joined by Adekunle Gold on the groovy Sess-produced “Bites the Dust”. Like something out of a Mr & Mrs Smith playbook, both lovers exchange passioned verses about how they both fell short in their love. “Find somebody else to deceive now/I deserve quality now/You belong to the streets now” she sings mellifluously, admitting that she’s officially done with the love they share. It’s her most defining statement on the project and a testament to her growth as a person and an artist.

Ahead of its release, Simi shared with her followers that the new EP was a project she put together “anxious, because of how different it is, excited, because of how different it is, curious, because of how different it is, but also grateful, because of how different [she] could be” and upon hearing the 6-track piece, we have to agree with her. With ‘Restless II’, she makes a case for delivering a startlingly modern take on the r&b coming out of Nigeria.

Listen to ‘Restless II’ below.

Featured image credits/Instagram

Hell hath no fury like Tami. Tweet her your fave female rappers @tamimak_

ICYMI: Music that makes us proud to be Nigerian

Burna Boy shares short film for Stormzy-assisted “Real Life”

Posted on by The Native

It’s not often discussed, but Burna Boy’s dedication to putting out compelling visuals has been part of what makes him a standout act. Depending on who you ask, he hasn’t always hit the nail on the head (e.g. the controversy that trailed the video for “YE”), however, his portfolio includes undeniable classics such as the videos for “Run My Race”, “Don Gorgon”, “Heaven’s Gate”, “Dangote” and more. Last month, the singer dropped the video for ‘Twice As Tall’ standout, “Monsters You Made”, a rousing set of visuals that matches the anarchist tone central to his burning socio-political rant.

https://www.instagram.com/p/CFz5SJLlkBa/

Going on with the rollout for his acclaimed fifth studio album, Burna has shared the video for the sublime, Stormzy-assisted cut, “Real Life”, and it continues to flaunt the superstar’s knack for bringing well though-out visuals to our screens. From its first minutes, it’s apparent that “Real Life” is a short film masquerading in the form of an “official music video”. It brings to mind “Thuggin’/Darko”, where beauty and bleakness collided in a sterling video that casted Burna as a multi-layered character who shares his time between being a father and thugging in the streets.

The Meji Alabi-directed short film for “Real Life” rehashes this narrative in a more accessible manner, while also laying out a much rounder storyline. Although there’s shots of Burna and Stormzy performing their lyrics, they are mostly scattered throughout the central narrative, which follows a young man as he goes through the day-to-day rigours of being a brother, an expectant father and a gang member. Deep into the short film, he’s set upon and stabbed by a rival gang, inevitably leading to his death. What follows is a moving spoken word piece that mourns losses like these and the effect it has on loved ones and future generation who get to inherit the trauma and beef that ensues.

In as much as “Real Life” deftly decries violence, it’s a reminder of life’s preciousness. As Stormzy sings: “Real life is for living, use this life that you’re living, be free”.

Watch the short film here.

Featured Image Credits: YouTube/Burna Boy

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Dennis is not an interesting person. Tweet Your Favourite Vigro Deep Songs at him @dennisadepeter

ICYMI: 5 TAKEAWAYS FROM BURNA BOY’S ‘TWICE AS TALL’

Songs of the Day: New music from Niniola, Simi, Olamide, Mayorkun and more

Posted on by The Native

We’ve had music to fall back on through all the heartbreaking moments of 2020. Despite the ongoing pandemic, civil unrest, and the seemingly endless barrage of bad news, musicians have continued to capture our collective pop consciousness with new songs that either reflects our present reality or provide an escape from it. We know it can be difficult to keep up with all the diverse streams of music, so we’ve created this column to keep you, our readers, up to date with all the finest tunes coming out of Africa and the rest of the world. These are the songs you absolutely need to hear.

Last Monday, we brought you stellar new songs from Kida Kudz, Young Jonn, Rowlene, and more. To round up the week, enjoy new music from Niniola who has just released her sophomore album ‘Colours & Sounds’, Simi who has also just released her highly anticipated EP ‘Restless II’. Bad Boy Timz has also released the music video for his single “MJ Remix” featuring Mayorkun, Olamide, Tekno, YP & Azanti, Hermez, MOJO, and more. Dig in and enjoy.

Niniola – “Look Like Me”

The undisputed Queen of Afrohouse, Niniola has just released her sophomore album ‘Colours and Sounds’ and it’s ostensibly her loudest statement yet. Building on her hit singles “Fantasy” featuring Femi Kuti and “Omo Rapala”, the newly released project is an afro-fusion affair as she dips further into her genre-mashing bag with help from producers like Timberland, Sarz, and more, spinning hits such as the GQOM-flavoured single “Oh Sharp” featuring Busisiwa and the Shuffle Musik-produced “Look Like Me”.

On “Look Like Me”, the afrohouse juggernaut is full of praise and adoration for her unique self, as she performs an assured set over the mix of Afro-house instrumentals, soulful piano arrangements, and groovy percussion. Taking inspiration from the song’s title, she sings “When I say do this/do this do that/Yes you wanna look like” sparsely inflecting her melodious vocals between the mostly instrumental track. In the video released alongside the single, she’s hosting a range of influences from the comic book era to DC’s Harley-Quinn and we have no choice but to stan harder.

Simi – “Triggered” featuring WurlD

Simi is having a moment for life. Her single “Duduke” was at the height of conversations on social media and the top of the charts earlier this year and since then, she’s shown a determination to put in the necessary work towards making the kind of music her doting audience enjoys – she’s yet to miss. Following her latest single “No Longer Beneficial”, the singer has now shared her highly anticipated EP titled ‘Restless II’ which finds her once again at her best form, exploring the complications of romantic love.

On the WurlD-assisted “Triggered”, she confronts an undeserving lover who’s been taking her love for granted. Over the gentle piano keys, she sings “Psych, boy you weren’t worth the hype/Chai, I fucking wasted my time” airing her romantic frustrations as she soundtracks the pure adrenaline and disappointment that comes from discovering you’ve been longing for someone who’s heart can’t be trusted. His infidelity is like a gun trigger being pulled on her and she doesn’t hesitate to send the accusatory kiss-offs to the receiver. WurlD joins her on the second verse, providing clarity to her questions although his responses are less than satisfactory. ‘You don’t know how to trust me, cause you had enough’ he sings, as he goes on to admit that he’s a different man now.

Olamide – “Green Light”

Street-hop legend Olamide is gearing up for the release of his forthcoming album ‘Carpe Diem’ and so far, he’s previously shared the boisterous new single “Eru” and now “Green Light” to further whet our appetites in anticipation of the project’s October 8th release date. On “Green Light”, he sings directly to a romantic interest, pleading with her to give him a chance to love her in a way only he can. Singing “You say I look like Casanova, for those weh I love, baby I go hard/Na who man no love an him go break heart” he showers his muse with all the affection and attention, trying to placate her doubtful feelings and get the green light from her to ease and release their sexual desires.

Tekno – “PuTTin”

Although Tekno’s back catalogue makes a compelling case for crowning him the voice of a generation, he’s also got a slew of club-ready hits on the back burner and his latest single “PuTTin” is a true declaration of his double-edged sonic abilities. On the groovy Spax-produced single, Tekno delivers a raunchy sex-positive affair as he invites a lover to a private rendezvous with him. Singing “I never see ashawo ever, she talk say when you see me, I dey puTTin” he delivers raunchy and suggestive lines masked by the song’s catchy beat, which makes yet another party-ready track

Bad Boy Timz – “MJ Remix’ featuring Mayorkun

Bad Boy Timz has had a great year so far. Following the release of his single “MJ” a few months ago, he amassed himself a loyal following who fell in love with the drum-heavy afropop number instantly making it his biggest hit yet. To capitalise on this, Bad Boy Timz has served up two remixes to the single, one with Teni and the other with DMW’s Mayorkun. Today, he’s released the video for the Mayorkun-assisted remix and it’s everything we would expect from the Michael Jackson-inspired single.

In the Adeyele Oluwole-directed video, Bad Boy Timz takes several leaves from the late entertainer’s book as he’s donned in a similar white and blue tux popularly associated with MJ, complete with the dance steps to match. As he delivers his lively verse in the dimly lit casino, he’s joined by Mayorkun who’s more than happy to flirt with Timz’ muse as they both deliver their stellar verses.

Azanti, Psycho YP – “Focused”

Abuja-based musical collective, Apex Village has just welcomed in a new member to the troop, 16-year-old singer Azanti. To properly induct him within the group, his debut project with Psycho YP ‘YP & Azanti Vol. 1’ has been announced alongside the promotional single for the project titled “Focused”. Over the infectious beat produced by Remy Baggins, Aznti delivers a stunning introduction into his world as he shows off his stellar lyrical chops.

The new single is romantically-inclined as both artists sing about their devotion to their respective muses who deserve all their attention. Singing “I ain’t tryna leave you alone/I’m just trying to make you my own” Azanti alluring vocals are on full display and we definitely can’t wait to see what he serves up next.

Hermez – “All the Time” featuring MOJO

Our Fresh Meat alum,Hermez has just released a new single “All the Time” featuring MOJO, a follow up to his recent single “Waves” which featured AYLØ and Le Mav. In his usual fashion, he’s declaring his affection for a love interest as he sings “Mama too too sweet, she never fold on me/Baby call on me and I give her D” as he tries to captures the ebbs and flow of his desire for his muse. He’s joined by rising rapper, MOJO who adds his slick flows to the new number making “All the Time” yet another single that he’s stolen our hearts and ears.

Featured image credits/Instagram

Hell hath no fury like Tami. Tweet her your fave female rappers @tamimak_

ICYMI: Leaked freestyle from Skepta, Deto Black, Lancey Foux and Unknown T

Leaked freestyle from Skepta, Deto Black, Lancey Foux & Unknown T

Posted on by The Native

When Travis Scott came out with his new single, “FRANCHISE” featuring Young Thug and M.I.A., fans of the UK’s most prolific rapper were vehemently convinced that the beat was produced by Skepta himself, as the production put together by La Flame, with the help pf Chase B and Teddy Walton, sounded like something right out of The Big Chief’s catalog.

Well, Skepta agrees. Hopping on Travis’ production and featuring Lancey Foux, Unknown T and Deto Black on the leaked record, Skepta leads the song with a provocative statement of fact: “This my type beat/ everybody knows that this my type beat“.

Throughout their playful freestyle, Skep, Foux and T share cleverly constructed lines, as we would expect from three of the UK’s most creative artists. Their distinct styles of rapping make for a diverse record, even before Deto Black assumes her position as the last word.

Since her debut on Odunsi (The Engine)’s “body count” streets have been clamouring for new Deto Black, and she feeds us good on this leaked collaboration. Though a she’s only got one verse to her name, Black holds her own and then some, living up to the high standard set by the well-established household names.

Woju’s Favourite Bars:

“Everybody knows that this my type beat”

“I don’t do lowkey, I go soprano in the highest key”

“I Can be the Travis to your Kylie/Highest in the room I promise ain’t nobody high as me“

“Hannah with the Montana see two sides of me”

“You wanna try me, blood on your white tee”

“I’m in a new road no way I’m steering left, can’t get into saga”

“That bitch tryna look like me, yeah that bitch is an imposter“

“I never need a nigga for no shit, I’m that bitch“

“When I rage it’s only bitches in my moshpit“

 

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Featured Image Credits: Youtube/Crypto Locker

Wojumi Is A Bad Bitch And She’s Going To Brag About It. Tweet Her Your Latest Cultural Exploits @Dewoju

ICYMI: BEST NEW MUSIC: TEMS IS ON HER BEST FORM WITH A “FREE MIND”

Music That Makes Us Proud To Be Nigerian

Posted on by The Native

Happy Independence Day one and all!

Sixty years ago today, on October 1 1960, Nigeria proclaimed independence from her colonial rulers, (not that) Great Britain. Our history since has been a tumultuous one. Though Nigeria has been independent for sixty years, we are pretty much still finding our footing – the statement from musical legend, Eedris Abdulkareem that “Nigeria Jaga Jaga” seems to be the truest representation of our country’s state of affairs through every different season. Given the proliferation of inter-tribal violence, gender inequality, corruption and a generally poor standard of living, on your average day, you can count on Nigerians having lots to say about our dear dreary country. Still, on this day, the one that marks our independence, we Nigerians are jubilant (to be honest, we are oddly in high spirits on most days), as we celebrate, with pride the country that we call home, for all its flaws and in all its glory.

From memes to shared understandings of the madness, vintage Nollywood to traditional celebrations, there are so many experiences unique to Nigeria for us to all bond over, and one of the most unifying aspects of our shared culture is our music. Hearing “Konko Below” at the function is immediately followed by the sight of a congregation getting on down to the memorable groove as we passionately sing (it almost always comes out as an out-of-tune belt) “ijoyaa ooooo, Lagbaaajaaaa“.  Watching our musical stars take on the world – with scores more success than their football counterparts – fills us with joy and a competitive spirit, as we hope the world will finally see that our Starboy is the only Starboy, and he did wash Drake on the original “One Dance” track. Changing national anthems every time a new hit song comes out, whether it’s “Ye”, “Ojuelegba” or some even say “Soapy”, lends a more realistic representation of how we Nigerians perceive our country. Beliefs that bind us together, such as these, leave us with a sense of pride of our Nigerian nationality, one that our Editor-in-Chief relayed, in his past life as Shane Chubbz, when he rapped “Holiday/Where I’m From”.

As a publication, this is a song that makes us incredibly proud, to be NATIVE member, and proud to be Nigerian too. As individuals, records from Davido, Lagbaja, Wizkid, Burna and so many more make us feel all warm and gushy inside too; so, to commemorate Nigerian Independence day, the NATIVE team and a few others are sharing that songs that make us proud to be Nigerian, and of course, we’ll let you know why.

“FIA” – Davido

Seni Saraki (Editor-in-Chief/Co-Founder)

“Fia” felt like the type of “protest” song that we don’t get a lot in Nigeria, and in Nigerian Pop Music in general. It wasn’t protesting against the ills of the country, but rather, a personal protest, against the everyday opps in all our lives. Sometimes, it feels like we are so accustomed to things going sideways, there’s no energy left to actually vent about these things – we, as a country, tend to just keep it moving. Maybe it’s a coping mechanism, and the only way to survive, but sometimes, we need that emotional release. Hearing the pain of Davido’s tumultuous year, channelled into this three-minute, emotive yet defiant record, and screaming the lyrics “you for dey for me” at the top of your lungs, feels like the perfect ode to our dear country.

“Dumebi” – Rema

Damilola Animashaun (HBIC)

“Dumebi” represents a new dawn for me. It was like a cultural reset and a middle finger to the status quo, which makes me proud to be a young Nigerian creative. When you’re doing things on your own terms, against the grain, people don’t tend to take you seriously. Rema did it and won. It really feels like he did it for us as well, especially after his rant on Twitter the other day.

Even though we’re taught to conform from a really young age and do as we’re told, I think it’s a very Nigerian thing to do what you want to do anyway, and that’s why this song is important to me as a young Nigerian.

“Ojuelegba” – Wizkid

Tami Makinde (Staff Writer)

This song is actually a classic or at least to me it is. I remember being a bigger fan of Wizkid than I am today, the trust issues are a bit much to look past in recent times. Anyways it’s a song that is truly evergreen because 6 years later on, the excitement when it comes on hasn’t waned that much. Listening now, it makes you remember where he’s come from and marvel at the prospect of the future for him. Plus considering how often it gets played in parties over in the diaspora, it’s definitely one of those ones that’ll always get considerable replay.

“Soapy” – Naira Marley

Teezee (Co-Founder)

The national anthem! Naira Marley’s “Soapy” is, to me the equivalent of what “Sicko Mode” was for Travis Scott in America. “Soapy” was an integral asset of the music game in Nigeria that year, this inescapable song bore so much cultural relevance. As Drake’s verse on “SICKO MODE” sparked rumours about him and KKW, the “Soapy” dance caused a lot of controversy as Naira’s moves were taken out of his intended context.

“Suuru L’ere” – Lagbaja

Dennis Ade-Peter (Senior Writer)

There has never been a part of me that romanticises innumerable problems Nigeria leaves its citizens to contend with on a daily basis, but I often catch myself with this irrational need to find a silver lining and hope for better days, before I emigrate permanently or die. Lagbaja’s classic cut, “Suuru L’ere”, is my potent shot of optimism. I tend to enjoy Lagbaja when he’s doling out diatribes and satirical commentary, but there’s a cordiality to “Suuru L’ere” in its call for patience and cooperation that makes me feel like there’s light at the other side of the tunnel—when I’m feeling this way, I can say “I’m proud to be Nigerian” and actually mean it.

 

“Ye” – Burna Boy

Adeshina Ladipo (Marketing Manager)

I remember the first time I heard Burna Boy’s “Ye”, earphones plugged in, volume pumped up to the max. There was heavy traffic that day, so I put on ‘Outside‘ to keep me company, and “Ye” came on and the song just hit completely different. On that journey, it was even heavier, because I was in traffic in a danfo, so lines like “I wan buy moto, I wan build house” just moved me – it inspired me a lot.

The Kanye West mix up was so perfect. Even though it was a mistake that led a lot of listeners to “Ye”, it’s also important to note that the song actually resonated with them. This song, from this side of the world, which had become the soundtrack to our lives in 2018, even dubbed the national anthem (overthrowing Wizkid’s “Ojuelegba”), actually spoke to people overseas – that was beautiful to me. So it makes me very proud to have a song like that from Nigeria, and our global superstar Burna Boy – whose ‘African Giant‘ level came largely off the back of that mixtape.

“Issa Goal” – Naira Marley x Olamide x Lil Kesh

Ify Obi (Freelancer)

This takes me back to the 2018 World Cup. Even though Nigeria didn’t make it too far, being Nigerian at that time was just great vibes. I mean remember the pride when the official Super Eagles jersey dropped and it was a madness. The unity we experienced while watching the games and the collective sadness when Argentina eventually knocked us out [eye roll] – that period was all about pride and unity.

“Pon Pon Pon” – Dagrin

Dennis Ade-Peter

The first time I spent some time outside Nigeria without family or close friends, Dagrin’s “Pon Pon Pon” was my go-to song. The reason is simple: “Omo Naija ni mi, Naija lo bi mi si/Naija ni mo ti bere si’n ko ABC”. Sure, those opening bars were a way for Dagrin to introduce himself, but for me in those times, they rooted me back home. When he rapped those words, he did with the invincible swagger that’s now attached to Nigerians; that delivery made me feel like I could walk around anywhere like I owned the place, simply because “Omo Naija ni mi”.

“Napoli like Lagos” – Pasuma Alabi Wonder

Wale Oloworekende (Freelancer)

“Napoli like Lagos” has an effect. I remember everything about the first time I heard it quite lucidly. The colour of the shirt on my back and the exact action I was engaged in. There is just something enthralling about Pasuma’s uneven vocals swimming drearily against the tempestuous tide of the drum scheme that draws one in. Fuji music’s canon is swollen with musicians memorialising their travels on wax but “Napoli like Lagos” stands apart as something rare: an effervescently earnest yet warm record.

“Wetin Dey” – Odunsi (The Engine)

Adewojumi Aderemi (Editor)

One of my favourite lines on the preceding single that accompanies “Wetin Dey” is “two passports so she get away“. Born and largely raised in England, I am very very fond of escaping Nigeria until the “Better Days” (December) come around. But, when the bouncy “Wetin Dey” blares through my speakers or fills my earphones, all I want to do is be back home.

Whether its partying to the LA rap songs of which the beat and music video are reminiscent, or getting down to everyday habits that I learned from living in Nigeria at the time Ruff Rugged & Raw’s song of the same title was popping off (buying breakfast in traffic on my way to school/work, taking the price down not enough notches at the market) this record reminds my restless self that my better days have always been spent at home. The fact that, despite all our “Jagajaga”, I still feel this comfort and safety in Nigeria, gives me a little moment of peace and pride – fleeting but, worth cherishing.

“Opotoyi” – Naira Marley

Makua Adimora (Freelancer)

I spent my summer last year in Houston; a city miles and miles away from my family and anywhere I had called home. Prior to then, I had never really lived out of the country for a prolonged period so I found myself scuttling to the ‘Nigerian’ club every weekend to get my weekly fix of sounds from the motherland as a cure to my ever-growing homesickness. It was on one such weekend I first heard Naira Marley’s “Opotoyi”. I had never really been keen on the rapper but the moment I heard the first few chants of ‘Marlians! Marlians! Marlians!’, something came over me; it was like I was in a trance. In the dimly lit and overcrowded club, I watched in astonishment as the entire room yelled out the lyrics in unison. It was a members-only party and I wanted in on the madness. At that moment, more than ever, I felt proud to be Nigerian

I found myself repeatedly playing “Opotoyi” in the coming days as I practiced my rather shabby legwork and even taught some of my white co-workers a watered-down version of the lyrics. I may not be the most patriotic person, but whenever I listen to “Opotoyi”, I feel part of something bigger than me. It reminds me of my time in a city I knew next to no one but felt right at home. 

Featured Image Credits: NATIVE

NATIVE Premiere: Listen to Naira Marley’s latest single, “Idi Oremi (Opotoyi II)”

Posted on by The Native

When he’s in full flow, Naira Marley leaves very little to the imagination. Building his rep off being a provocateur who isn’t afraid to air his opinions, no matter how controversial, that trait has been a defining element in his music, as he’s become one of the more descriptive artists around. His ascent into superstardom has been marked by a thematic rawness, with several carnal songs like “Opotoyi (Marlians)”, “Soapy”, “Pxta” and “Tingasa” lacking any form of filter in their lyrical content.

Naira hasn’t really cooled off this year, however, his solo releases, “Aye” and “As E Dey Go”, have toned down the lewdness in favour of his more laidback, philosophical musings, however, like clockwork, his new single, “Idi Oremi (Opotoyi II)”, finds Naira back in his bag of raunchy tricks. Loosely translating to “My Friend’s Bum”, the rapper cranks the notch on fun-filled vulgarity up to ten, loading every inch of the 3-minute song with as many lascivious and straightforward quips as he can possibly muster.

https://www.instagram.com/p/CFjfZrqDoIC/

Produced by close collaborator, Rexxie, Naira Marley waxes plainly about “Friends with benefits”, with the benefits specifically being sexual. Prancing over humming piano riffs and a groovy, booming bassline that will instantly inspire many variations of the Zanku, Naira pokes fun at entanglements that are purely physical, and as a sequel to “Opotoyi”, it’s also a reiteration his fascination with bodacious women. “Ore ma n je’se ore…je ka ma rira’wa/je ka ma gbon’ra wa (“Friends eat the work of their fellow friends…let’s be seeing each other/let’s be doing it with each other)”, he sings at the very beginning of the song, being as direct as he possibly can be.

As much as “Idi Oremi” plays into Naira’s penchant for being crass, the song’s selling point is his undeniable sense of humour. Even if you’re the type to be turned off by the song’s topic, it’s very likely that the innate playfulness of his lyrics will reel you in. At one point, he raps, “Se idi e re, abi o wo pampers/ma, your ass dey give me asthma”. The ‘rona might be keeping us from dancefloors at the moment, but as society is opening and more avenues to party safely begin to pop up, “Idi Oremi” is destined to be a home run for Naira Marley, as he gears to release a new EP tentatively titled ‘B2DS’ before 2020 wraps up.

Marlians! Come forward and listen to “Idi Oremi (Opotoyi II)” here. The rest…


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Dennis is not an interesting person. Tweet Your Favourite Vigro Deep Songs at him @dennisadepeter

ICYMI: NAIRA MARLEY & THE EVOLUTION OF STAN CULTURE IN NIGERIA

The life & times of Nigerian dance royalty, Zanku

Posted on by The Native

Zlatan has never been one to shy away from spewing potentially polarising diatribes. His career has in part, been built on his proclivity to say the darndest things, and coast along on the chaos that ensues. But, in the foggy harmattan of 2018, one of his usual grandiose assertions was squarely on the money. Swapping verses with Burna Boy on the December-released club banger, “Killin Dem,” he rapped, “Mo gbe Zanku wole, mo ni kon fade Shaku Shaku”, loosely translating to “I introduced Zanku and dealt the death knell to Shaku Shaku.” Zlatan’s brag, on the most quintessentially visible song from the Zanku canon, was a crystallisation of the dance’s prominence as evinced by his collaboration with the biggest Nigerian act of 2018 — and the undeniable ascent of the snappy jam in the months to come.

This was all coming less than two years after the Shaku wave had ushered in a number of new street pop acts — Mr. Real, Slimcase, and Idowest — to the limelight via songs like “Legbegbe”, “Shepeteri”, and “Oshozondi”. One of the first streets-centric dance style/sound to permeate the Nigerian mainstream in a while, the Shaku was a glut of fresh influences, and after its predictable assimilation into Nigerian pop music’s industrial complex, it was reverse-engineered for stylistic offshoots like “Diet”, “Issa Banger”, and “Issa Goal”. Additionally, the Shaku received co-signs from all over the world thanks to Nigerian footballers playing across the globe as well as making an appearance at the 2018 World Cup courtesy of the French national team’s majority-black contingent. Perhaps ironically, the dance and all the hysteria around it shone its light tangentially on Zlatan — who had been grafting in the underground for a while — and his career, fast-tracking his come-up due to the visibility afforded street pop acts at that moment. 

But, in the space of 18 months, due of a combination of savvy and an unbeatable work ethic, Zlatan went from playing a supplementary role in entrenching one dance craze to watching it fade into the ether, while leading the charge for another dance routine that, crucially, had his name imprinted on it. By deftly swapping the Shaku with the Zanku, Zlatan began a chain of events that would further laser Nigerian music, dance, lifestyle, and popular culture unavoidably into the world’s collective consciousness.

It is impossible to chart the history of contemporary Nigerian pop music without reference to the dances that have lined its path to global ubiquity. The alternate history of popular music from Nigeria is memorialised in the dance styles that have served as lodestars for the sound at different times in history. Nigerian pop of the late 90s and early-to-mid 2000s owes an eternal depth of thanks to the galala dance that originated from Ajegunle and its environs; the explosion in hypervisibility for Nigerian and Ghanaian culture at the turn of the previous decade stemmed from the popularity of the Azonto dance home and abraod; while the multi-cultural south of Nigeria blessed the culture with Kukere and Sekem circa 2012/2013. Nonetheless, the last decade of dance innovation in Nigeria has largely been defined by improvisations anchored on life in Lagos’ many gritty hoods (with perhaps, the sole exception of Davido’s Skelewu). 

For so long, Olamide had been the primary exporter of catchy dance steps from communities at the fringe of Lagos, but Zlatan assumed that position with Zanku, teasing out the viral dance from its original roots in Agege, on the northern frontier of Lagos, to the big lights of music industry events on the Island and beyond. Zanku’s first appearance came on the video for Chinko Ekun’s “Able God”. Released early in the third quarter of 2018, the song seemed to sound like a staple of the Shaku sound which had slightly passed its peak at that point. But, the video for “Able God”, featuring Zlatan and Lil Kesh, debuted a more vigorous form of overlapped hand shuffling and an upgrade in the guise of bouncy leg stomping, complete with the now-iconic air kick that made it an instant attraction. In the video, which has gotten over five million YouTube views, Chinko Ekun alongside his collaborators work their way through beta renditions of the dance move. While that early rendition, in hindsight, feels amateurish, it set a framework for what the dance encompassed.

Viral dances have always proven useful as marketing tools to elevate musicians to a higher career stratosphere, and sensing an opportunity to create a viral dance in his image, Zlatan made another play with his next solo release. If “Killin Dem” is regarded as the most visible of the Zanku-influenced singles, “Zanku (Leg Work)” is, undoubtedly, the most elemental, carrying the spontaneous spirit of the dance in its 2:58 length. Importantly, Zlatan paid homage to the spiritual home of the dance, shouting out Agege in the opening moments of the Rexxie-produced single. Primarily a rapper, Zlatan forwent a typical rap verse delivery for a more slanted rhyme-like flow that plateaued into addictive lines like “Gbe body e” or “Gbe soul e”. Calling on members of his crew, including a then-ascendant Poco Lee, to put their own spins on the dance in the video, “Leg Work” effectively set the stage for Zlatan to own a viral dance like few in Nigerian pop history had.

In one interview with vlogger, Moni, he said that no one could displace him as the progenitor of the dance despite admitting that he had first seen the move during occasional trips to the New Afrika Shrine in Ikeja. “You know anybody that comes out to sing about it, or does anything about it, automatically owns the dance,” he explained. “I brought it to people and they accepted it.” When asked if he feared anybody challenging his ownership claim, he laughed and replied that the dance bore his name. 

Such a personal relationship with the dance meant that he never really faced a fight to maintain ownership of a movement he had popularised with his friends. And by the time “Killin Dem” dropped, with the intense public attention that Burna stepping unto the wave brought, the Zanku had, in a sense, evolved into an extension of Zlatan’s outsized personality. From holding the key to the movement, he had become the movement. This meant that Zlatan’s presence had the potential to arbitrarily determine what songs were Zanku songs. Street rappers had often chosen to use indigenous language as their means of expression and Zlatan largely stuck by this but the key difference of the Zanku from the Shaku was the pace of the music. While Shaku leaned on the guttural arrangement of gqom, South Africa’s traditional electronic dance music, Zanku was less frenzied, subsuming the formulaic yet rhythmical drumming patterns of typical Nigerian music into its core. Zlatan’s collaboration with Davido, “Osanle,” was a good example of this. 

With Zanku taking over social media and club scenes, the dance became a must learn for anyone who wanted to rock the latest wave; and other musicians started making music primed to tap into the full-blown demand for songs that encouraged  Zanku dancing. Remarkably, a good number of the songs that truly tunneled into the Zanku sound were by musicians from the streets, birthing music that mirrored the perverse, hedonistic, or survivalist realities of life around them. Danny S released his call-and-response earworm, “Oh My God” accessorising the video with variants of the Zanku; Rahman Jago assembled Zlatan, Chinko Ekun, and Junior Boy for “Ijo Ope,” one of 2018’s biggest posse cuts, which thematically presented itself as a dedication to the Zanku movement, however, the messaging hinted at something more unethical; and the mystique of “Ijo Ope” was abandoned for less nuanced soundbites on Rexxie’s “Foti Foyin” featuring Teni, Zlatan, and Naira Marley.

Olamide, Nigerian pop’s grand synthesiser, led the wave’s incursion into the top echelon with “Woske” and “Oil and Gas,” two smartly engineered records that rode the Zanku wave while maintaining its pop accessibility. And Davido fully stepped into Zlatan’s world on “Bum Bum.” As important as the Zanku dance was to the movement, it could not have enjoyed such a viral reach without the adequate music to set a pace for it to follow, and Rexxie’s scuzzy, chaotic beats were the right fit. The nexus of his work with Zlatan and Naira Marley would form a bulk of the dizzying highs of the Zanku and define much of 2019’s soundscape.

Still, for much of the early period of its reign, the dance had enlivened Nigerian audiences without crossing over outside the continent and still lagged behind the Shaku in terms of global visibility, but that was soon to change due to fortuitous circumstances. Burna Boy’s now-infamous Coachella rant and “Killin’ Dem” being the single that officially set the African Giant epoch on the roll put a global spotlight on Burna Boy, “Killin’ Dem,” and the joyfully innovative dancing that was taking place in the video, providing a narrative for the Zanku as the newest example of fresh impetus from Lagos, already regarded as one of the world’s most culturally-significant cities. Relishing his role as a cultural ambassador, by the time Burna made it to the Empire Polo Club in California in the second week of April 2019, he brought the Zanku on stage with him, looping his own little innovations into the mix memorably. 

From California, the dance became a key component of Burna’s energy-sapping sets as he performed in venues all over the world for his African Giant tour — playing an interlocutory role as a visible disciple for the dance. At home though, a dark cloud had risen over the Zanku movement due to its seeming proximity with fraud culture, the nation woke up, in May, to news that Rahman Jago, Zlatan, and Naira Marley had been among a group arrested by the Economic and Financial Crimes Commission (EFCC) on allegations of Internet fraud among a number of things; their arrest spawned a number of memes, pontificating, and viral material which perhaps unwittingly further entrenched Zanku’s hold on the zeitgeist.

Naira Marley’s involvement in the case, due to his pioneering role in afro-swing, was a trigger for global inquisition into what the Zanku was all about and what made it vitriolic. However, as the months went by, the cynicism many felt for what they perceived the movement as, started melting away due to a number of inspired drops by Naira Marley that pushed him unto a new stage as a frontline star of the Zanku movement. Naira Marley’s arch came full circle at Wizkid’s London-held StarboyFest when his frenetic on-stage improvisation of the Zanku dance was remade into gifs and video loops that went viral. 

Nobody can really predict what makes a dance spread afield beyond its home base. Some of the most iconic dance moves of the last decade were to a large extent, products of communities with an unprecedented capability to shape culture in their image. Dance tropes like Gangnam Style, Dougie Jerk, and Harlem Shake grew out of powerful nations like America and South Korea that possessed that soft power. Their dances were also relatively easier to mimic. In contrast, the Zanku is a more complex proposition comprising of sound style and dance: primarily delivered in a back-and-forth blend of pidgin, English, and Yoruba; and involving body-jerking levels of motion.

So, by the very nature of its aspiration, instead of trying to be hyperspecific about its sonic origin, the Zanku lent itself to globalism: ever so slightly letting interpretations of the dance be fluid from place to place in a bid achieve ubiquity as is observable in videos of non-Nigerians — and some Nigerians! — rocking to it. The video of Ludacris learning the dance is charming for the American rapper’s effort —  and what it meant for a dance from Nigeria —  if not the rigour of him actually getting the dance moves.

Described as “love letter to Africa, Beyoncé’s ‘The Lion King: The Gift’ gets some of its most sonically lush moments from its Nigerian pop-featured artists. “Ja Ara E,” the project’s sole no-feature song benefits from the Zanku movement as it finds Burna Boy reflecting on purpose and betrayal, with Zlatan’s signature adlibs forming a spartan base for Burna’s thoughts to reverb off. One year later, Beyoncé returned with her latest undertaking, ‘Black is King’, a grand, cinematic afro-fusionist visual album that needles threads of the past and the present to form a tapestry of African nobility and self-determination. Amid all the overt homage to African tradition and Beyoncé’s leaning into arcana to anchor this boundless universe of black joy, the Zanku provided some of the vibrant imagery of contemporary popular culture in Nigeria and Africa, being regularly returned to in between synchronised dances to lift the mood and add some randomity to the mix. 

Perhaps, more than anything, this dalliance is what sets the Zanku apart from any other type of viral dance that has broken out of Nigeria – and even, West Africa. Galala laid the block for contemporary Nigerian pop; Azonto set the flight of west African culture’s popularity in motion; the Shaku inched us closer to global attention, but Zanku is the dance for when the most astute curator in the music business made her African-American rapprochement body of work. Pertinently, it is the dance of when Nigeria’s biggest popstars intersected with the royalty of general popular culture. 

Already, many are predicting the banishment of Zanku to the same ether where Zlatan sentenced the Shaku. The shuttering effect of COVID-19 has robbed the wave of what could have been its peak months, and in that time Nigerian music has undergone tweaks to mirror the ambiance of lockdown. It’s been a bit over two years since we first heard Zlatan croon “Zlatan abeg no kill us” on “Jogor,” but in that time-frame, the dance has already pushed beyond its humble origins to the kind of phenomenon that has touched all parts of the globe and inspired one of the most swashbuckling runs of singles Nigerian pop has ever seen in a calendar year (Naira Marley). 

The future always felt like it was going to be a fight for re-invention and Zlatan seems up to it; one of the hottest songs in Nigeria presently is Jamopyper’s Mayorkun-assisted “If No Be You,” a more expansive, rambunctious take on the Zanku sound. Jamopyper, a Zanku Records signee, also had a star turn on “Of La La,” a collaboration with Zlatan and Rahman Jago that hinted that he might be the custodian of whatever Zanku morphs into next. What is sure is that as the Zanku ascends to the pantheon of iconic Nigerian dances/movements, something else is bursting at the edge, ready to come to our attention. We can only watch on with curious eyes.

Wale Oloworekende Is A Lagos-Based Freelance Writer Interested In The Intersection Of Popular Culture, Music, And Youth Lifestyle.

ICYMI: NAIRA MARLEY & THE EVOLUTION OF STAN CULTURE IN NIGERIA

Watch Lady Donli, Bey-T and more in the video for emPawa Africa’s “Kalakuta”

Posted on by The Native

Mr Eazi’s talent incubator programme emPawa Africa has been getting all the rave since its inception over two years ago. Since then, over sixty African artists have come through the stellar programme including Joeboy, Goodgirl LA, Bemi Soul, Xenia Manessah, Zarion Uti, and more, for the second year of the #emPawa30 class.

Now, to showcase the breadth of talent that has come through the incubator programme, emPawa Africa has released the uplifting new single, “Kalakuta” featuring some of the artists in the first emPawa 100 masterclass including Bey-T, George Kalukusha, Lady Donli, Ruth Ronnie, Trina South, Union 5 and more. The lively new single which pays homage to Fela Kuti celebrates Kalakuta as a musical paradise as each artist drives home a truly pan-African message.

Opening with soft piano keys and light drum patterns, the song’s catchy production provides the perfect backdrop for the group’s pan-African message. As Bey-T sings-raps “And they slept on the land now they’ll have to feel her” melodiously on her verse, she’s joined by Lady Donli who sings “Let me take you to Kalakuta/See my people they never too far” over the hook. Released a day before Nigeria’s Independence Day, the new video was shared in mind to embody the importance of working together.

Lady Donli shares:

“When I wrote the hook for Kalakuta I was just thinking of home and also the connection I was sharing with the African artistes around me. It’s like we’re all so different but we’re the same. The vibrancy in the culture is beauty.”

George Kalukusha shares:

“When we were writing the song we wanted to capture the spirit of African artists and the joy they bring. That’s why you refer to Kalakuta, the shrine of one of the most influential African artists that has ever existed. Making the song was interesting for it features a lot of artists, each with their own styles, fusing them was a fun.”

Watch the video for “Kalakuta” below.

Featured image credits/Youtube

Hell hath no fury like Tami. Tweet her your fave female rappers @tamimak_

ICYMI: Tems is on her best form with “Free Mind”

Best New Music: Tems is on her best form with a “Free Mind”

Posted on by The Native

It’s a generally accepted notion that both listening to and creating music can have various positive effects on one’s mood and mental health. More than a form of entertainment, music can intervene when you’re feeling lonely and isolated, whether it’s when you recognise details of what you’re feeling in what you can hear as a listener, or as the creator – like Tems – finding release for these feelings.

Last Friday, she released her debut EP, ‘For Broken Ears’, which she revealed is “for anyone looking for an alternative to the darkness. Those who needs a break from the toxicity they consume and supply on a daily basis”. Her deeply personal lens on navigating the world when you can feel its weight on your shoulders, is the kind of music that can be used to find a place of comfort and a secure base for emotional balance. The speed with which Tems has made her name as one of the most important voices of the younger generation of hitmakers is nearly unprecedented, and this is mostly entirely due to the proximity listeners have to her truest and most vulnerable feelings.

https://www.instagram.com/p/CFNOpD-jG21/

In our Issue 004 cover story, Tems detailed her troubled past with us, speaking about how making music helped her get over a bout of depression as a teenager. There’s a certain freedom that comes when you’ve fought away the black cloud hanging over your head during a downward spiral, and with “Free Mind”, Tems perfectly expresses what it’s like on the other side.

Opening with soft piano keys and a thumping bass, the song’s catchy, self-produced (alongside Omeiza) beat sets the foundation for Tems’ honest confessional. With recurring bass after each four bars, one will find themselves bopping their head to the bounce and in agreement with what she’s saying in unison. Switching from her calm and collected delivery in the verses to a higher pitch in the hook and pre-chorus, it feels almost like Tems is symbolising the freedom she feels through her melodies.

Throughout the project, “Free Mind” sees Tems at her best vocal delivery and lyrical dexterity, as she walks us through what it’s like to feel bogged down, how she feels after overcoming these troubles, and subsequently ‘running to the other side’. ‘I try to be fine but I can’t be, the noise in my mind wouldn’t leave me. I try to get by but I’m burning’ she sings on the first verse to set the tone, before she declares that she really needs a free mind on the hook. A person’s outer reality is directly influenced by the internal beliefs one has about themselves, and typically, the way you think influences the way you act; the way you act influences how you’re treated, which cycles back to influence what you believe about yourself. As a result, having limiting beliefs of one’s self is very easy to fall into, and with this project as a whole, Tems is showing us that it’s better to be on the other side of this.

On the hook she sings: “When I try to live my life, then it tries to take me out”, which is probably the most relatable line in the whole song. If you’ve pushed through a hurdle before, you’ll know that the reward for overcoming a challenge is an even bigger challenge to overcome, and without a free mind, you might find yourself back to square one. This is where most people stumble, but Tems is confirming to us that it’s possible to keep pushing to get to the other side, and the clarity and freedom of mind is the key.

During the interview for our cover story, Tems told me that her all her new music is representative of a new Tems, one she’s become used to being, but we aren’t aware of yet. Her breakout song, “Try Me” was written at a time when she was still feeling immense emotional pain, which you can hear through the lyrics and inflections on the track. “Free Mind”, seems like she has reached the final form from “Try Me”, connoting that once you’ve freed yourself from the prison of your mind, these limiting beliefs are eliminated from your life, and you will become more motivated to take action on what you truly want to achieve.

If you stick to Tems’ rulebook, you’re likely to keep your head down and carry on pushing with ease.

Listen to “Free Mind” here:

Featured Image Credits: Tems/YouTube

Damilola needs a rapper to serenade her @damdamxx 

ICYMI: A 1-Listen review of Tems’ ‘For Broken Ears’ 

Celebrating Black History Month With Bumble

Posted on by The Native

Celebrated from October 1 to October 31 in the UK, Black History Month was first introduced to the British calendar in 1987, under the initiative of Akyaaba Addai-Sebo, a Ghanaian activist who worked as the Special Projects Coordinator of the Ethnic Minorities Unit of the Greater London Council (a mouthful, but he did good work). Noticing that black children felt a detachment to their African roots, ashamed of their heritage, with some even longing to be white, Addai-Sebo conceived the idea of an annual celebration of Black British people’s African history, elucidating how the continent and its people have made sizeable contributions to global civilisation.

Thus Black History Month in the UK was born, the 31 days of festivity to kick off in just a few days. Black History Month has grown into a month of pride and a month of joy within the black community, it’s a celebration that fills us with love, so it’s absolutely perfect that the social networking platform, which once started out as a dating app, Bumble, is commemorating the month by sharing stories of black love.

In their new campaign which says, My Love Is Black Love, Bumble will be sharing the stories of 31 Black British people for the 31 days of the month. The campaign consists of video interviews and testimonials which share what black love means to each individual and what they would describe their love to be. “Mad deep”, “thoughtful”, “attentive”, “spicy” these are but a few ways the musicians, models and people from within the Bumble community, who all take part in the campaign, express their love.

“Bumble is a platform rooted in kindness and respect,” so their CEO Whitney Wolfe Herd will tell you. Most praised for their Make The First Move slogan, which empowers women to do just that, Bumble are proud to destabilise the patriarchal dynamic which prevails in modern relationships, right from the first move. In their expansion with Bumble Bizz, they also encourage young professionals to take that all too scary step towards their next goal. The Bumble brand is all about empowerment, and this year, more than any other, they have proven that they’re all about intersectional empowerment.

Earlier this year, Bumble donated $1 Million to the Black Lives Matter movement, following their support of 15 small businesses with grants to keep them afloat during the pandemic period. Now, as they seek to offer an authentic representation of black love that has hardly existed before, Bumble are actually “putting their money where their mouth is,” affirms Naomi Walkland who is the Head of Bumble UK and Ireland.

Having been at Bumble since 2018, Walkland tells me she is truly “proud to be part of [a company] that actually walks the walk,” as we chat over the phone about Bumble’s numerous ventures in realising its philosophy of kindness, respect and empowerment. From big money schemes to help the disenfranchised, right down to a simple mandate for all its users to sign a pledge – that says you believe in their values of equality, representation and inclusivity – in order to join Bumble’s social network, Bumble are, from top to bottom and right from the start, a company that emphasises justice and fairness in today’s cruel world. Most importantly though, “we are always listening to our community,” Naomi tells me. Bumble’s advocacy doesn’t simply stop at the ideas the staff members have, they genuinely keep their ears to the ground, with a bottom-up approach that tells of their dedication to being for the people.

Raised by a single Nigerian mother in the UK, Walkland reminds me of a childhood we shared, where depictions of black love in the British media were few and far between. Like Walkland, maternal (and sibling) love was about the only thing I understood about black love– that and the hood love portrayed through the hip-hop music videos that populated MTV or dance and basketball movies seemed to be the only places I could find an all-black cast living life outside the white man’s gaze. As Naomi quotes, “You can’t be who you can’t see“, so denying black British people the visibility of people like them sharing love on screen in a non dramatised way, will always leave its mark. Are we all expected to follow the stereotypical arch of Tyler Perry movies, filled with infidelities and a chaos so toxic that my more enlightened self doubts if that representation should ever even be called love? Are we to only ever expect black men to be absent or abusive? Because even if at home they’re exposed to better, in the media that way of being a man is continuously reaffirmed.

Most representations of black love have been stereotyped, realistically reproduced again and again, teaching us that what we’re fed is just how life is, until we ourselves make the effort to unlearn. So, for 2020’s Black History Month, Bumble are giving black people, black children – whose shame in their heritage-inspired Akyaaba Addai-Sebo’s inception of this very annual October celebration – an authentic, diverse and inclusive representation of black love, in romantic relationships, in parent-child relationships (like the ones Naomi and I share with our mothers), and even in friendship (shout out Bumble BFF).

This morning, Bumble shared the campaign video to introduce their month of black jubilation, with snippets of wisdom from some of the people from whom we will be hearing throughout the month. Bumble’s cast includes George the Poet, who asserts “black love feels like the best is yet to come“, Jourdann Dunn, who believes it is “A community coming together and really showing up for each other”, just as she an Bumble have done, Nicole Crentsil, who envisions black love as “A world where we can see ourselves being happy,” and more. Capturing big grins, festive cheer and a motivating series of positive messages, putting this campaign together put a cheshire-wide smile on the Bumble head’s face, because she saw what we’ve all secretly known, but rarely get the opportunity to experience; Naomi Walkland witnessed the awesome phenomenon that:

“Black love is black joy”

Image Credits: Bumble UK & Ireland

Wojumi Is A Bad Bitch And She’s Going To Brag About It. Tweet Her Your Latest Cultural Exploits @Dewoju

Fresh Meat: Best New Artists of the Month (September)

Posted on by The Native

Staying true to our mission reshape the face of African popular culture, The NATIVE team curates a monthly list to spotlight the best and most exciting new artists on the continent. Some of these artists have dropped songs to some regional acclaim, while others are brand new on the block, working towards their first big break. Tune in to what’s next. Click here for August’s Fresh Meat. 

Finding new artists is easier now than it has ever been. Whilst the ease is notably productive for both listeners and artists themselves, it tends to create a slight problem: it’s harder than ever to filter through it all and keep tabs on what’s really good.

To stay on top of this, every month, NATIVE’s editorial team spends a lot of time scouring through the world wide web for fresh new talent, who are in their own way breaking boundaries and adding some value to the music ecosystem throughout the country. As we’ve become more connected thanks to the global pandemic, it has never been easier to put out music and find a niche following. What’s difficult, however, is sieving through all the noise, and finding all the diamonds in the rough.

So, this month, from South Africa to our backyards in Nigeria, here is a list of the best new artists who have gained our attention this month.

Langa Mavuso

Deezer NEXT is an initiative from the French Online streaming platform, which provides select artists from all over the world with marketing and editorial support for the twelve months that they remain on the roster. This year’s class sees talent from France, US, UK, Yemen, Netherlands, Brazil, Germany, and representing the continent is Langa Mavuso from South Africa. Having been making music for what he describes as four short, yet, eventful years, Langa Mavuso made his music debut in 2016, with his EP ‘Liminal Sketches’,  which earned him audience with South African heavyweight, Black Coffee, who eventually signed him to his label] Soulistic Music. Now, he’s fresh off releasing his debut album, ‘LANGA‘, and it’s a piece that positions him as one of Africa’s brightest emerging stars.

Growing up around a lot of soul and jazz, owing to his parents’ preferences, Langa’s greatest musical heroes are the legends that raised him; Caiphus Semenya, Ringo Madlingozi, Miles Davis, Stimela, Donny Hathaway, Luther Vandross, Whitney Houston. Growing into D’Angelo, Maxwell, Musiq child amongst others, Langa Mavuso’s upbringing through soul’s timeless classics have played a huge role in the neo-soul proclivities that typify his sound today. Another key influence for the millennial singer was Tumblr: “I’m an African Tumblr kid making music” Mavuso professes. From the monumental platform, Langa got into the like of Frank Ocean, Chance the Rapper, Kanye West, BJ the Chicago Kid; a more diverse selection of artists, still Langa’s love for this cohort, for music in its entirety, remains rooted in soul. But Mavuso doesn’t wish to be boxed into that one genre, he is able to travel many musical paths and that is evidenced through his collaborations. On Spoek Mathambo and Blacswet’s “Libalela (Pray)” Mavuso explores electronic music, as he also does on the electropop number from Muzi, “Best Friend”, whilst one of his most successful collaborations, “7 Seconds” Langa brings his soulful vocals to the hip-hop beat, for a duet alongside British singer, Grace Carter. As Solo Ntsizwa Ka Mthimkhulu spits bars on “See Plenty Dreams”, Langa Mavuso ditches is ballard style of singing for a punchy delivery of the song’s repetitive chorus. But when he is on his own terms, Langa Mavuso is delivering soulful music from the heart, narrating his experiences, past and prospective, in a universally relatable way. This is what makes his debut album, self-titled, ‘LANGA’ the resounding hit it has been thus far.

A hopeless romantic – his favourite movie soundtrack is The Notebook’s – ‘LANGA’ is a course in heartbreak, its crooner guiding his listeners through the minefield of pain and destruction, until we see the light at the end of the tunnel, acceptance. That is as far as Langa goes. Though he claims to have ‘moved on’ on the bitter ballad, “Cheat Code”, throughout the duration of his self-titled, Langa remains within that past relationship’s orbit, but the key change in attitude between the pain and the acceptance is the hope, the belief that things will end up alright, despite the “Love Lost”. Working on ‘LANGA’ between his chapters 23 and, Cape Town, Johannesburg and London were the locations that offered Langa refuge during his self-reflexive journey of healing from heartbreak. In London, Mavuso worked with Chloe x Halle producer, Linden Jay and on the SA side of things Cape-Town duo Noble (consisting of David Balshaw and Bubele Booi, who produced on ‘The Lion King: The Gift’), lent their hand to the beats. Their production on ‘LANGA’ is outstanding. “Spirit”, which could fit on a contemporary gospel album, is one of the standouts in terms of production. With weight sustained keys given power to Langa’s spiritual musings, “Sprit” is afforded a long piano outro, to flaunt its magnanimous production. The wholesome beat for “Calamities”, the album’s opening track features a host of instrumental sounds, rhythm clicking, sharp violins, guitar breaks, as well as R&B drums mingled in with the funk infusions. Through ‘LANGA’, Langa Mavuso gives himself away completely. With an aim of putting South African R&B on the map, Langa Mavuso introduces to the world his ballad style of singing and his deeply personal approach to writing. Our eyes are peeled and we won’t regret it.

Rvdical The Kid

Rvdical The Kid is not exactly Fresh Meat. Whilst he is primed for a take-off any minute now, Rvdical has been on the scene for a good minute, his fresher year taking place back in 2015 with the release of his eclectic debut project, ‘Carte Blanche’. Born in Nigeria, the Benin Republic raised producer cum DJ, moves to Accra just after his debut, and has been primarily located there ever since. A truly West African musician, Rvdical’s early musical icons were the legendary Nigerian instrumentalists, Fela Kuti and KSA, though Celine Dion, Phil Collins and Kenny Rodgers were also integral to his early listening experiences. However, these acts didn’t influence The Kid, per se. These old-hands were simply the voices his father would play for the family; when Rvdical began exploring music for himself, the sounds of the Three Six Mafia, Trick Daddy and East Side Boys were what he gravitated towards at first, later leaning into Chase & Status, Rusko and Skrillex, where he learned the whims of electronic music, than now plays a role in the sounds he offers up to the world.

Also handling production on Tems’ “These Days” earlier this year, Rvdical The Kid’s latest is titled, ‘Little Planet’, a strong twenty minutes that build upon the raw display of talent he first aired on ‘Carte Blanche’. Where ‘Carte Blanche’ opens with a hip-hop number infused with electronic sensibilities, as the DJ-producer makes good use of his toolkit, ‘Little Planet’ houses similar spunk on the lively lead single, “Skimp on the Shrimp” featuring Yonkwi, or the Amaarae-assisted standout record, “NASA”. From his first few takes, Rvdical has been showing us just how proficient he is at beat-making and mixing. ‘Carte Blanche’ is stacked with samples, the sweetest sounding being his chop and screw of Really Doe’s “We Major” chorus on “Skyscrapers”, which the beatsmith mixes in with disco-like synths. There is no genre that is above manipulation from Rvdical’s sword. “Funk With Me” on ‘Carte Blanche’ plays with the funk sounds you’d expect from its playful title (found also on “Everything” via Soundcloud) and “Free Spirit” later on on the album mixes in afrobeat inspirations with an electronic preference. On his sprawling Soundcloud page he gifts us a trap remix of Odunsi’s “Happy Hour”, whilst on ‘Little Planet’, he’s adopting reggae rhythms with the drums on “Rosemary” before the beat strips bare to accommodate Maesu’s spacey singing. Easily likened to Frank Ocean Maesu has been a long time collaborator of Rvdical’s, appearing on the debut project to deliver a delectable “Dopamine”, a solid song that could rival anyone of Ocean’s ode to narcotics. Like Maesu, Amaarae, Yonkwi and Australian, AyWy are some of Rvdical’s oldest collaborators who share like visions with the producer. This is why he finds it easy to invite them into his ‘Little Planet’ (though not AyWy), for the period.

Digging deep to deliver personal messages through his beats, Rvdical’s journey has been an eventful one, full of an eclectic range of vibes shared through irresistible tracks. The road has been long too; the Kid has been on the map for a minute, but with these days he seems to have gained a certain cultural relevance in our collective consciousness that has earned him an ever-growing consumer base.

Olú

Soul singer Olú’s name is a mononym. The succinct moniker is an abbreviation of the artist’s first name Oluwatosin evoking the same command and intrigue as musical greats like Beyonce, Adele, Madonna, and more, who need no further introduction than their noteworthy first names. And just like these artists, Olu wields a sharp and soulful voice, forcefully delivered with enough intensity to stir introspection and a constant evaluation of personal truths in any listener.

Her deeply poetic spin on music was first introduced to the world back in 2017 when she released her debut single “The Cry”. The stylistic influence of her church background was instantly noticeable in her rich sirenic voice as she pleaded with listeners to wake up to the many injustices of the world. The spit-along confession found her audaciously declaring she was “heaven sent” to deliver this important message to all willing to listen right at the song’s opening moments. Accentuated by soft sweeping acoustics, her rich distinct voice was given ample range to showcase its prodigious depth as she invited listeners to think beyond their reality. This soulful take on afropop followed her into her next release “Aye” —Yoruba for ‘Life’—which was filled with lucid, distinct storytelling as she narrated a tale of unconditional love and sacrifice in the world backed by brassy, percussive production. A year later, she was ready to let listeners further into her world with the release of her debut EP ‘Languages’, a 5-track offering which called for more self-reflection and relied on evocative storytelling to hone its message. On each number, she’s offering listeners room to contemplate and be present in the moment.

On her sophomore project ‘Feels’ she guides listeners through a sonic journey as she comes to terms with who she is and how to navigate this newfound self-awareness. Seeing as the singer dubs herself a sage, it comes as no surprise that her music is equally reassuring and comforting, extending a warm embrace to listeners who stumble into her atmospheric soundscape. On ‘Feels’, you can hear that sonically and personally she has grown as she examines the relationships in her life and the places that have made her who she is today. On “Feels Like” she pines for a lover who is slipping from her grasp, as she itemises a list of things she wishes to feel from true love.

The project drifts like a mindset influx as she’s endlessly switching up themes, going from naive adoration of her bustling home-city Lagos on “Lagos Hypeman No-1” and segueing into self-acceptance and unbridled confidence elsewhere on “1111 I Love Myself”. Each song feels emotionally descriptive as she opens up like never before, even speaking on mental health on the project’s centerpiece “A Thing” which finds her capturing snapshots of her complicated life. ‘Music is my rider/sometimes my provider’ she sings, admitting2 that the only way out of her self-doubt and pain is through surrendering herself to her craft. The project’s greatest success isn’t that she’s overcome all her obstacles but that she’s human and perfectly capable of ascending armed with a deep self-conviction in herself and her abilities as she offers a refreshing take on neo-soul coming from these parts. This is an artist who has a whole lot more to say and who deserves all the attention for her distinct and well-layered soulful contribution to afropop’s burgeoning musical landscape. 

OBT

Like most things today, music genres are not static. They frequently grow and take on shape by borrowing from a host of other genres as they inculcate a range of stylistic influences, expanding and growing through different cultures and people. Take for instance, how afropop as a whole, would be nothing without its borrowing from other genres like highlife from Ghana, where it absorbed some of its infectious percussive rhythms. In fact, today, we’re coming into times where there is less stringent rules to conform and uphold static genres, allowing artists who neither fit in here or there to flourish with their hybrid brand of music much like Rema, Odunsi the Engine and many new-gen artists are doing exceedingly well today. 

OBT’s journey is similar. After studying music production in South Africa, he returned to Nigeria to pursue his music career as an artist and producer, founding a creative media frontier named ‘95 Issue through which he released his debut single “Killah” back in 2017 and also through which, he has now just rolled out his debut album ‘Birdie’ earlier this month. The 12-track offering is a culmination of all OBT’s sonic influences, latching onto highlife-infused percussive production to match the dreary tenor of his lyrics as he chronicles his personal struggles in life. He explained in a recent interview that the project ‘took [him] on several musical journeys’ which is aptly seen in the array of melodies that underscore his debut. Whether he’s inviting his love interest to take up permanent residence in his heart forever on “Home” backed by a stellar rap verse from Wonder Tha Hypeman or rejoicing about his life and the journey he’s had undertaken in search of himself on “Jabulala”, he’s constantly presenting distinctive and individualistic takes on a range of topics that only he can meld together. 

He’s constantly sending off honeyed-toned words of admiration to a lover, endlessly aiming to express the depth of his devotion to his muse (or a range of muses). In any case, OBT wants you to know that he’s a man of love and that shines through on a number of tracks on the project like “Water”, “Maria”, but despite this, OBT still hangs on to his pride on “Debit Lover” where he admits the limit to his love and affection. The song’s title alone has negative connotations, showing that the relationship may be one-sided, taking more from him than it is willing to give him in return. But even this emotion doesn’t last as the song bleeds into the rhythmic “Closer” which sees him returning to his loverboy languish. And with his declaration of self-assurance and confidence on “High School Dream”,  it’s clear that this is an artist that has a lot to prove to himself and the world.

His afro-fusion cocktail of sounds is best observed on “Jabulela”, one of the projects main standouts which finds him infusing several African sounds from Ghanaian highlife to South African harmonies as he celebrates the continent and its liberating quality of music. Seeing as the song’s title is Zulu for rejoice, its up-tempo number makes for an enjoyable listening experience as the contrasting harmonies meld seamlessly and plunges listeners further into his youthful world. What you’re left with at the end is an artist who shapes their craft with fine-tuned precision creating smooth otherworldly melodies that are equal parts joyful and pensive, arriving at something that can adequately be enjoyed by anyone who’s listening. 

Hermez

R&b has mutated up to the point where artists can comfortably carve out their own lane, due to the boundless fusion possibilities the genre seems to hold. Atlanta-raised, Los Angeles-based, Nigerian singer, Hermez has curated an engrossing sound that oddly but refreshingly fits together the glossy bounce of contemporary r&b, the immersive vibe of lo-fi melodies, and the occasional polyrhythms of afropop. It’s a sonic mix that’s sophisticated and unique, but also recognisable and instantly accessible.

Last year saw Hermez’ debut, with the release of two projects, a short EP and a full-length LP. ‘Late Night Oasis’, the 9-song tape that dropped in March, introduced the singer’s bent towards moody melodies and writing that bordered on emotiveness, however, it’s the late October album, ‘Garden Spirits’, that offers a fuller glare into what Hermez is capable of. Colourful, cohesive and musically varied, ‘Garden Spirits’ is a conceptual record of sorts, a utopia for people to enjoy life and live freely as he describes it. Weaving in cross-cultural references that gesture towards being “full-blooded” Nigerian, Hermez offers up his identity while digging into the familiar themes of lust, love, heartbreak and everything in between.

Listening to the 17-song project hones in on Hermez’s ability to lay his sentiments bare, leaving room for listeners to relate with his songs even though they’re highly specific to him. Even though the through-line is freedom to enjoy one’s self, Hermez uses every opportunity possible to detangle emotions and complicated scenarios. In an interview with VoyageLA, Hermez explained that he “worked with the wrong people [and] fucked with the wrong chicks” on the way to becoming who he is now, and he clearly channelled those experiences into an album where playful hedonism, as an escape mechanism, and vulnerability comfortably sit side by side.

This year, Hermez has dropped two new singles, the AYLØ-assisted “Waves” and “All the Time” with MOJO. Both songs flaunt the idea of a stronger artistic identity going forward, with the former playing into his wheelhouse of emotional honesty, and the latter expanding his sound even further into the familiar bounce of Nigerian street-hop, without obscuring the qualities that make his music so distinct. As he continues to grow, Hermez will only get more undeniable—now is the right time to jump on the bandwagon.

Azana

If you scroll long enough through the comment section of Azana’s music on YouTube, chances are you’ll find a few takes on her being the Zulu version of Msaki. Even though it’s a bit reductive, as are most comparisons, it’s not the worst compliment that can be garnered by an artist who only gained mainstream attention a few months ago. Especially when you consider that Msaki is easily one of the very best singer-songwriters on the continent. Armed with a rich and profoundly soulful set of pipes, Azana’s voice is effortlessly captivating and truly breath-taking.

In April, the 19-year old South African singer made her debut on Sun-El Musician’s “Uhuru”, bringing a riveting essence to the superstar producer’s blaring beat. A rousing call to action and reminder that many Africans still live in less-than-ideal conditions, “Uhuru” instantly showed that Azana is capable of taking on weighty topics. She quickly followed up with “Your Love”, which served as the lead single for her recently released debut album, ‘Ingoma’. Comprising fourteen stunning and beautiful songs, ‘Ingoma’ is a wonderful introduction to Azana, an album that’s easily one of this year’s best full-length debuts.

Although mostly sung in isiZulu, ‘Ingoma’ benefits from this language barrier, casting Azana as an artist who can conjure vivid moods, by matching her variety of musical choices with a range of melodies that land on many points on the spectrum between breezy and intense. “It comes naturally to me, when I express myself in Zulu it’s easier”, she explained in a post-album interview with Checkout Africa. Musically familiar, ‘Ingoma’ jumps from simmering ballads to up-tempo cuts and features a handful of collaborators, but it’s Azana’s phenomenal voice and specific identity that grounds the album.

At the moment, Azana is juggling her nascent musical career with studying for a law degree—“it’s so hard but it’s doable”, she says. It’s that sort of conviction that permeates her music and indicates that she’s destined for much greater things, sooner rather than later.

Hanna

Most times, getting the right co-sign is all it takes for unshakeable conviction to set in. When South Africa-based, Zimbabwean rapper, Hanna uploaded a freestyle video to her Instagram, she didn’t expect it to catch the ears of rap superstar Nasty C, but it did, and his positive comments nudged her into taking her rap dreams serious. “The whole Nasty C situation with the comments and that video is actually what made me want to start doing music more seriously”, she told University of Cape Town radio. “I hadn’t recorded anything at that point”.

A year later, it all came full circle as Hanna worked with Nasty C on ‘Lift as You Rise’, a compilation EP that paired the star rapper and some of his established colleagues—Tellaman, Rowlene, Gemini Major and Lastee—with talented, up-and-coming artists. Having already recorded and released a few singles of her own, Hanna was already stepping into her identity as an artist, and her confidence shone during her cameo on “Outside”, as she ran through a scene-stealing 16-bar verse that merged quick wit with infectious arrogance. It might have been her biggest look at the time, but with that performance, Hanna comes across as unfazed, an attribute that has defined much of her music.

Being self-assured is something that’s expected of anyone who raps, but in Hanna’s case, it goes beyond the trappings of genre that’s rooted in machismo: She embodies being young, black and queer in a way that’s instantly refreshing. “Young black queen, young black queen/better run that dream, secure that cream”, she declares on the catchy hook of “Nigists” as she flaunts her blackness. It plays into her ideal of making music that not only represents herself, but also resonates with listeners—“I just can’t rap about nothing/I gotta stay real, I gotta stay true/I gotta be honest”, she says on “Peace”.

It goes without saying that Hanna is a supremely talented rapper, and even though more people will come to her for the bars, she wants them to stay for the substance in her music. On October 9th, she will be releasing her debut project, ‘The Girl in the Durag’, and it’s already shaping up to be an expansive showcase of her powers. Lead single, “The Girl in the Durag”, is a straight-up bar-fest over a stomping beat, while latest single “Low Key” finds her dabbling in neo-R&B cadence for a lustful bop. It’s in line with what she told UCT radio: “I also produce and sing, and I enjoy sounds that are quite melodic…I would like to try other genres. I feel like rap is a very small box to put me in”. By refusing to let anyone other than herself define her identity, Hanna is shaping up to become even more undeniable as she keeps on evolving.

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Featured image credits/NATIVE 

Words by: Adewojumi Aderemi, Dennis Ade-Peter & Tami Makinde

ICYMI: FRESH MEAT: Best New Artist Of The Month (August) 

Songs of the Day: New Music from Kida Kudz, Young Jonn, Rowlene & More

Posted on by The Native

We’ve had music to fall back on through all the heartbreaking moments of 2020. Despite the ongoing pandemic, civil unrest, and the seemingly endless barrage of bad news, musicians have continued to capture our collective pop consciousness with new songs that either reflects our present reality or provide an escape from it. We know it can be difficult to keep up with all the diverse streams of music, so we’ve created this column to keep you, our readers, up to date with all the finest tunes coming out of Africa and the rest of the world. These are the songs you absolutely need to hear.

Last Friday, we brought you the long-awaited, Davido-assisted remix to Olakira’s summer hit, a collabortive single between Reekado Banks, Kida Kudz and EO, as well as new singles from L.A.X, Runtown and more. To get your week started, we’re recommending stellar new songs from Kida Kudz, Young Jonn, Rowlene and more. Dig in and enjoy.

Kida Kudz – “Don’t be Shy”

Kida Kudz has happily kept the streets fed throughout this year. In addition to February’s debut mixtape, ‘Nasty’, the UK-based rapper has put out a consistent stream of loose singles and feature appearances. In addition to his stellar contribution to Reekado Banks’ “Need More”, last Friday also saw the release of Kida’s breezy new single, “Don’t Be Shy”.

Adopting a slick flow over warm piano chords and a frenetic bassline, Kida reaches into his softer side, singing of his affection and promising undying devotion to a potential love interest. While he’s better recognised for his ability to make machismo-driven bangers, “Don’t Be Shy” is a timely reminder that Kida has more dimensions to him, and he will always keep it catchy.

Young Jonn – “In Case”

After years of being behind the boards, crafting hits with a lengthy roll call of A-list artists that includes Olamide, Naira Marley and Tiwa Savage, Young Jonn is seemingly ready to show us his chops in front of the microphone. “In Case”, his new single, is the first time Young Jonn places emphasis on singing as his primary role on the track. The song is produced by Phantom, whose screeching piano strings, horn harmonies and highlife-inspired bounce serves as the perfect backdrop for Young Jonn’s nasally vocals and preppy melodies, as he sings of transactional sex and the primary currency behind it: money. “Nna, one thing must kill a man o/e fit be woman, e fit be cash o”, he sings, choosing to observe rather than judge and it pays huge dividends, resulting in a catchy song with no unnecessary shaming or proselytising.

Kofi Mole – “Makoma” (feat. Sarkodie & Bosom P-Yung)

Kofi Mole is one of the many artists who use their prolific streak as an opportunity to constantly experiment and fine-tune their abilities. While he could be deemed as a rapper, the Ghanaian artist constantly shows range with each new, distinct single. His latest, “Makoma”, finds him playing at the intersection of Ghanaian folk and trap, as he delivers a boisterous romantic cut. Adopting a rugged rap-sung flow, Kofi Mole sets the song’s lively tone, and in doing that, he pulls a melodic flow from Sarkodie, while Bosom P-Yung’s goes into his bag of tricks for a delivery mode that borders on hysterical.

Rowlene – “Stop”

Rowlene has consistently shown herself as one of the more captivating voices on the continent, thanks to a radiant voice that can convey several emotions and slip into a multitude of sounds rather effortlessly. The South African singer is gearing up to release her sophomore album, ‘11:11’, in November. Kick-starting the rollout, she’s shared the intro track, “Stop”, as the album’s lead single, and it finds her in an assertive mood. Over brightly ominous keys and robotic bass synths, Rowlene pulls off an authoritative kiss-off that sees her cracking on a former flame, riffing on his fake chain and flat-out dismissing him. “I know that you’ve gotten used to taking from me when you stall on empty/don’t involve me now, it’s gotta stop”, she declares in a tone that’s as caustic as it is infectious.

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

lordkez – “Amnesia” (feat. Blind MIC & AYLØ)

South African multi-hyphenate creative lordkez introduced herself as a singer-songwriter with last year’s ‘Revenge Season’, a debut EP that established her as an artist with a preference for making emotive and deeply engrossing music. Last Friday, she followed up with her second EP, ‘Charcotta’, a 9-song that emboldens the cinematic quality of her music. One of the instantly striking cuts off the excellent EP is “Amnesia”, a deep cut with assists from Blind MIC and AYLØ.

On the song, all three artists recall a past relationship that took a toll on them, wishing away all the toxic memories that came with the experiences. “Hurt face all in my case, I don’t need you/sit back, always laid back, I’m sativa/act like I don’t know you like amnesia”, kez sings in the opening moments, letting out the flood gate for MIC and AYLØ to wax poetic about the PTSD they accrued. With each artists taking their turn on the mic over aqueous guitar and languid drum rolls, “Amnesia” is the musical equivalent of three friends venting to one another and bonding over a similar situation.

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Dennis is not an interesting person. Tweet Your Favourite Vigro Deep Songs at him @dennisadepeter

ICYMI: GET FAMILIAR WITH DRILL MUSIC FROM THE AFRICAN CONTINENT

High Court Rules Against Senator Elisha Abbo In Civil Suit

Posted on by The Native

Last month, it was reported that the year-old case again Senator Elisha Abbo – who was charged on July 8 2019, following the viral video of his violent assault against a Ms Osimibibra Warmate – was dismissed. Though the Nigerian public had all seen the evidence, despite the testimonies of Ms Warmate and the investigating police officer, even disregarding the fact that Senator Abbo admitted to the assault in his public apology, the case was dismissed on the grounds of insufficient evidence in the investigation.

The ruling to dismiss the case was one that rightfully riled the public, as it proved just how ineffective our justice system can be. Women in Nigeria are painfully aware that the law and its keepers rarely have our interests at heart, but today, we witnessed a pleasant surprise – a much needed dose of good news this year – as we were given a positive update on the dispute. Today, lawyers representing Ms Warmate revealed on Twitter that, in the civil suit, ‘Osimibibra Warmate v Senator Elisha Abbo’, the Federal Capital Territory High Court passed judgement against the Senator, awarding the sum of 50 Million Naira in damages, in favour of Ms Warmate.

Earlier in the year, as we witnessed the brutalisation of multiple black women all over the world, it became clear that we really are the only ones who stand up for ourselves. Recently, when none of the police officers responsible for killing Breonna Taylor were charged with causing her death, despite months of protesting, it became clear that no matter how much black women demand respect for our bodies and value for our lives, not men and not their patriarchal laws ever listen. The ruling against Senator Abbo, shared today, is a good reminder that things will get better. After a tiring year of fighting, with few positive outcomes, this update is the fire we need to keep going in our battle against gender inequality.

Today, it’s 50 million in damages, tomorrow it’s jail time and the day after that it’s men staying the fuck out of women’s business. Amen.

Featured image credits/BBC

Wojumi Is A Bad Bitch And She’s Going To Brag About It. Tweet Her Your Latest Cultural Exploits @Dewoju

ICYMI: THE LAW DOESN’T PROTECT, WOMEN DO.

All the details of Jameson’s special Independence Day bottle

Posted on by The Native

In partnership with Jameson NG 

1st of October—the day where Nigeria celebrates her independence and we reflect on the nation’s growth—is right around the corner, and although our independence day is always a good excuse to party, COVID-19 is causing us to celebrate independence day a lot differently this year. 

This year’s holiday will mostly serve as a break from the hustle and bustle of everyday life before it starts all over again the next working day. However, the nation’s spirited attitude during this time persists, and Nigeria’s most popular Irish Whiskey, Jameson has found a way to honour the monumental day in a unique way with their special carton design. 

https://www.instagram.com/p/CEmUr5WDvME/

Jameson unveiled a new case design that adapts the visual expressions of our culture to show their appreciation of Nigeria’s glorious traditional heritage. They tribute the different tribes in the country with the artistic design that aligns all the tribe names together to form the shape of the Nigerian map. Apart from listing all the different tribes that make up the country’s super diverse culture, the design also incorporates some of the Nigerian ethnic symbols as it features illustrations of totems and other aesthetic markers in their geographical locations on the map. Though this acknowledges Nigeria as a multi-cultural society with the embedded designs representing the different ethnic groups, it also highlights our dynamic lifestyle and conveys the nation’s cultural synergy.

The bronze head 

The Benin bronze head figure is widely reputed as Nigeria’s most revered artwork. The sophisticated bronze sculptures made to commemorate the sacred person of an Oba or King were looted during the colonial era so they can be found in many of the world’s greatest museums, including the British Museum in London and the Metropolitan Museum of Art in New York and even Pablo Picasso owned one. Though they are currently in the process of being returned to their rightful origin in Benin, Nigeria, Jameson has portrayed its position on the Nigerian map to celebrate Nigeria’s artistic culture.  

Drums

Nigerians love music as much as they love to drink and party. Jameson has shown they recognize this by organizing music concerts and supporting musicians (especially within the alté music scene) through niche collaborations and several campaigns. For the new case’s design, they featured some indigenous musical instruments like the talking drum played in the Yoruba speaking west and the goje, played by ethnic groups inhabiting the north. By showcasing these traditional instruments, they are celebrating our cultural music heritage.

Cocoa fruit, cattle, and livestock

Before oil was discovered in Nigeria, we relied primarily on an agricultural economy. Jameson’s Independence Day case design reflects the traditional agriculture of the different regions by illustrating the cocoa fruit which sustained the economy in the western Nigerian region and the cattle livestock trade that’s popular in Northern Nigeria.

The symbol of a woman wearing a headwear reflects our fashion while we also see the Arewa symbol as they combine our different cultural symbols to form a whole that surrounds the text “Celebrating 60 Years Together“. The case’s design reminds us of Nigeria’s richly diverse culture and the strength in the nation’s unity in spite of the differences in tribe and tongue.

But even before the new case design, there are few things in the bar that say “I’m proud to be Nigerian” like a Jameson bottle. It’s right there in the green-coloured bottle that reflects the colours of the Nigerian flag. 

Jameson is starting to develop a history of creating events to celebrate Nigeria’s independence day. Last year, a warehouse was converted into a chill spot for young people to bond over their smooth Irish Whiskey, and the year before that, they hosted an independence day-themed concert at the New Afrika Shrine. They’ve consistently shown their support for Nigeria’s youth culture through the Jameson Connects events dedicated to bringing the youth communities together for memorable bespoke experiences like pop-up fashion stores, live T-shirt printing and sponsoring the video shoot for beloved artists like Tems. The new case design allows them to sustain their patriotic commitment while still following the new COVID-19 safety regulations. 

Though fans can still count on Jameson’s smooth taste, the new case adds an extra incentive to buy the bottles. You don’t want to miss out on a chance to get the limited edition package as you’d also be paying for the patriotic and educational art designs that feature all the Nigerian tribes. Though we’ve been told not to judge a book by its cover, you’d be hard-pressed to find a more perfect independence day gift.

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

ICYMI: Jameson’s independence day concert, 2018

Gems: A list of the best songs released this week

Posted on by The Native

Every Weekend, The NATIVE Will Put Out A List Detailing The Best And Most Enjoyable Songs Released During The Week.

With The Scope Widening And Music Dropping At An Immeasurable Pace, It’s Easy To Miss Out On A Lot Of New Drops, So We’ve Decided To Help Out, By Collating A List Of The Best Hip-Hop, Pop, R&B Songs From All Over The Continent. Our Main Goal With This List Is To Make Finding Great Music Of The Moment Easier For You.

“Made Me Everything” – TOBi

Earlier in the week, TOBi announced the release of his sophomore album, ‘ELEMENTS, VOL. 1’ along with the video for its latest single, “Made Me Everything”, which arrived on Tuesday. Opening with a sample of “You Made Me Everything”, a 1971 funk/soul tune written by Charles Moose Amos and Tony Milen and produced by Ricky Clark, horns from which prevail throughout TOBi’s own rendition, “Made Me Everything”, is a gospel-like celebratory production, courtesy of Alex Goose. Speaking of the song’s soulful exuberance, TOBi asserts that his aim, throughout his music, is to reignite the heartfelt instrumentalism that typified the music we’d happily dub classics, saying, “That soulful energy with a contemporary touch is what my music is about. I’m bringing that feeling back for the kids to experience.“

“Made Me Everything” is one of TOBi’s more commercial plays, however its triumphant spirit excuses away any notion that he’s selling out, as the record is clearly intended to touch everyone, hence it’s pop ambitions. The collective joy TOBi wishes to impart over Goose’s uplifting beat is clearly related through the song’s gleeful music video, where dancers follow the Nigerian-Canadian star through different sets, their happy energy matching the mood of the song. When it comes to lyricism, TOBi is one of the most captivating emcees. As ever, on “Made Me Everything”, TOBi’s similes are full of wit, he raps early on, “got your bae watching  like I’m Hasslehoff?” and tackles casual racism with a cleverly constructed bar, “Ouu well spoken for a black man, that’s how you serve a complement with your backhand.”

TOBi never shies away from the unsavoury disucssions, and though “Made Me Everything” is intended for positivity, TOBi still finds room to discuss police brutality (“save your breadth keep your two cents and invest in a dash cam”) and gender (in)equality (“I’m looking down but I never look down on her/I put a crown on her”). Chanting that “the pain made me everything I am” over the songs multiplicitous chorus, this record appreciates that though his start was rough, he has always had the potential to be great: “came out the mud/a diamond in rough/just give me a wipe down”. Ultimately, TOBi is now “A long way from young dumb misunderstood”.

“Pretend” – Langa Mavuso feat. Aimee George

On Friday Langa Mavuso released his self-titled debut album. Laced with heartfelt ballads, R&B bops with hints of pop and folk spread out over the 45 minutes, ‘Langa’ is an incredible album, from which a clear favourite is impossible to choose. There’s the moving on anthem, “Cheat Code” with an infectious bass guitar reminiscent of Kendrick Lamar’s “Sherane”; “All of Me” in all its pop glory; towards the end of the album Langa delivers a contemporary gospel “Spirit” later matching this energy with organs playing on the sweetest “Love Lost” – the albums final track. Every song on on ‘Langa‘ deserves its praise, but the number that jumped out on my first listen and has remained a favourite is track number nine, “Pretend” – thanks, in no small part to the stunning pipes Aimee George brings to the table.

To open the track singing, “Hey old friend, are you breathing well”, Langa Mavuso comes in in a lower register than we’re used to though the album, reminding us of his range, as well as a former flame that he is still here for her. Taking the bottom line of the harmony when Aimee George enters on the pre-hook, Mavuso and George duet as they sing of a love that has sustained itself deep within them, so much so that they can’t let go, though they know they’re better off without each other. Sharing a familiar story to most harsh break ups, Langa and Aimee appreciate that they both chose themselves above each other which pulled them apart. They express the pain of having to fake it until you make it in a poetic, poignant way over the peaceful chorus, singing, “I know it’s said an done/ we made our beds alone/ was it really worth it in the end/ if now we play pretend” before Aimee George opens her verse in a similar fashion to how Langa began the track (her line: “hey old friend, are you ok?”).

George’s verse on “Pretend” is a standout on the album; she sings of how she longs for her lover’s voice, before appearing apologetic that she ended up hurt (“I never meant to hurt this way”) over a love she was expecting but didn’t get (“I only hear the words that you didn’t say” she says, appreciating that actions do speak louder than words). After a second take of the song’s chorus comes a rousing outro, where the couple repeat the lines “I can’t help but play pretend/let’s play pretend”. Here, Langa joins Aimee in the upper register, briefly flaunting his range before the somg wistful strings carry this graceful number to its end.

“What You Want” – Toye Aru x Beulah Obioma

An effect of deeply longing for someone is that we get utterly straightforward with our intentions. Depending on who you ask, confessing love, or even like, is not the most advisable course to take for a few reasons — because not everyone you like will like you back, it seems everyone is playing games these days, etc. — but nonetheless, that burning desire almost always overpowers logic and pushes us into being open with our feelings. “What You Want”, the joint single from producer Toye Aru and singer Beulah Obioma, is an apt representation of this sort of situation, where one party is direct even though the signal from the other side borders on uncertain.

Written from a first person perspective, “What You Want” benefits from a frankness that comes from a tasteful sort of desperation. With her voice at the centre, Beulah sings of being a safe space for a confused love interest, promising emotional presence during the daytime and physical intimacy at night. As much as she’s attempting to lure her interest in, she frames her propositions in a way that takes account of her own desires—“I don’t care of what you think, I want it too”, she passionately sings.

Toye Aru, who usually has an affinity for big sounds, accompanies his collaborator with a minimal instrumental arrangement that combines R&B guitar riffs from Jazz Priest, softly gurgling bass guitar by the Cavemen’s Kingsley Okorie, and a shaker to keep a steady tempo. It’s another fine showcase of Toye’s ability as a producer who is a wizard at forming synergy with his collaborators, at any given time, based on their strengths.

“Ready For You” – Black Coffee feat. Celeste

You could say Black Coffee is the biggest house music producer/DJ out of Africa with a straight face, and not sound stupid. For the better part of this millennium, Black Coffee has grown into one of the more ubiquitous and inventive music makers on the continent, while also pushing the global agenda of Afropop through collaborations with artists such as Drake, David Guetta, Usher and more. He’s currently preparing his next studio album, tentatively titled ‘Stop Consciously’, and it’s shaping up to be a blockbuster release with the Sabrina Claudio-assisted lead single, “SBCNSCLY”, already out and rumours of a collaboration with Pharrell Williams.

Over a week ago, the South African maestro put out the second pre-album single, “Ready For You”, and it features Celeste, the highly rated British-Jamaican singer who won BBC’s Sound of 2020 award back in January. Known for barely crowded, Jazz-steeped songs, “Ready For You” pulls Celeste into previously uncharted terrain, as she’s surrounded by careening synths, sweeping strings and rowdy keys. To her credit, she doesn’t sound like a fish out of water, instead her soulful voice strides beautifully and purposefully as she becomes the song’s centre of gravity.

A blue-eyed love song, “Ready For You” makes great use of Celeste’s flair for affecting writing, while Black Coffee’s vibrant production captures the bright feeling of committing to a person who makes you feel special. “And when you’re right beside me, I never lose myself”, Celeste sings on the sole verse as the beat briefly dissipates into something softer. “Ready For You” doesn’t exactly push the ledger on Black Coffee’s proven capability, but it’s a remarkable reminder of what makes him one of the perennial greats around these parts.

Featured Image Credits: NATIVE

Words by Adewojumi Aderemi, Dennis Ade-Peter & Debola Abimbolu

ICYMI: GET FAMILIAR WITH DRILL MUSIC FROM THE AFRICAN CONTINENT

Get familiar with drill music from the African continent

Posted on by The Native

Evolving from trap music about a decade ago, originating from the South Side of Chicago, drill music has grown to be one of the most popular corners of rap music in our year 2020. Originally helmed by Chief Keef, Lil Durk, Fredo Santana, amongst other Chicago rappers, these days, drill’s top figures are hail from a range of cities around the world; the genre has taken on different inflections as it has spread globally and rooted itself in a number of music spheres. these days, Pop Smoke, Headie One, Fivio Foreign, Loski are all popular names at the forefront of the drill scenes from New York to the UK.

UK drill first emerged around 2012, from Brixton, South London, inspired by the realistic nihilistic tendencies of Chicago drill, that detailed the violence of the street life that its rappers lived. Whilst drill content has remained gritty and apoetic in its spread to the UK, it was only when drill settled in London’s boroughs that the genre earned its distinctive production style. Though similar to trap, Chicago drill worked with a slower tempo than its predecessor, but according to Chicago native journalist, David Drake the new style wasn’t defined by a particular production standard, but rather a mentality, a lifestyle indigenous to the Chicago youth. Nowadays though, drill is mostly affiliated with sliding bass 808s, moody melodies, and a quicker pace to its Chicago counterpart, kept up by its rhythmic snares. These tendencies owe thanks to the grime and UK garage influences, which weaved their way into drill as it landed on British soil.

Spreading to New York (Pop Smoke), Australia (OneFour), the Netherlands (73 De Pijp), and further, thanks to international collaborations with UK drill producers, drill music has now been adopted into various musical enclaves, including here on the African continent. Rappers, from youngin, Jaiye (Nigeria) to the famous Cassper Nyovest (South Africa), have dabbled in drill music; even IDPizzle’s “Billie Jin”, a song which sat at the heart of our summer in lockdown, is a drill record, inspired of course by the late great Pop Smoke’s “Dior”.

Like all types of music, drill is being experimented on throughout Africa, but nowhere is the movement more prevalent than in Ghana’s Ashanti region, in the city of Kumasi (renowned for pioneering cultural waves in the West African country), now fondly referred to as Kumerica.

Kumerica – simply forged from a mash-up of Kumasi and America – was coined by the young people of Kumasi to illustrate the how their lifestyles were less reflexive of their Ghanaian location and more closely related to the opulence presented by American stars, from their dancing chains, to their fancy sports cars, and their wardrobes full of luxury designer items. Sensationalised on the internet earlier this year, Kumericans, as they’re called, are not only seen to co-opt American style, but they also adopt the American style of speech, from their slangs to the ubiquitous American accent.

Whilst in everyday life, mimicking another cultures and lifestyles is worth note and attention, when it comes to music, taking inspiration from genres outside of one’s immediate vicinity is a practice that has been ongoing for as long as music has been alive. So, it is no surprise then, that with the growth of the Kumerican community came the growth of a bubbling musical movement that is equally as inspired by the US, this time, drill sound blowing up in Pop Smoke’s New York.

As with all drill music, the lyrics spewed through each Kumerican rap track are typically brutish as they narrate the violent reality of the Kumasi streets. In the UK, Mayor of London Sadiq Khan once blamed the rise of the drill scene for increased knife crime in the country’s capital; in Ghana, as the gang violence, drug affiliation and general criminal activity commonly associated with drill is mimicked amongst Kumasi drill rappers, the introduction of the new genre to Kumerica has similarly been accused of inciting violence in the Garden City of West Africa.

Whilst Kumasi Drill (led by Reggie, O’Kenneth, Kwaku DMC) seems to be the only drill movement in full form on the continent, the sound is an everyday one to African ears, owing to the ubiquity of Western media. So, when our own artists try their hand at drill – whether one-off, or taking on the genre’s sensibilities as their own artistic style – we are gifted with familiar sounds through familiar tongues, offering a more personal experience to the foreign-helmed sonance.

From South Africa (where Chicago drill has been studied by rappers for many years now) Nigeria, Mozambique, Kenya, Congo, rappers are interchanging English and their indigenous languages to the tune of UK drill, to a standard well worth our recognition. In applause, NATIVE have compiled a list of ten tracks that have caught our attention – for those who don’t know about drill on the African continent, get hip to these guys now. And if you’re all about it? We’d love to hear who you guys have got on your African drill playlists, and which country they’re repping. Get me lit!

“Gboju” Remy Baggins feat. PsychoYP & MOJO (Nigeria)

Produced by Telz

“Billie Jin” – IDPizzle (Congo)

Produced by Chrisrichbeats and Chrismotems

“THE KROWN” – ESPIQUET (South Africa)

Produced by ZINO-D

“Stagga” – Roly (Nigeria)

Produced by Crossroads

“Billie Jean” – Mr right x Ajay (Kenya)

Produced by Makenobeats

“MAGAZINES” – Dygo Boy ft Nicko Journey x Mvlcolm (Mozambique)

Produced by Mr Dino

“Brakkkaaa” – Straffitti ft. Jaiye (Nigeria)

Produced by Remy Baggins

“Nyame Adaworoma” – JoChurch (Ghana)

Produced by Willobeatz

“Chaguo la Teens” – JIGGY (Kenya)

Produced by Libra devine

https://www.youtube.com/watch?v=5xuJnzBL3pw&feature=youtu.be

“DENTRO DA PASTA” – Xizzow Gra x Kong v.12 (Mozambique) 

Produced by The GG

Featured Image Credits: Kawabanga/YouTube

Wojumi Is A Bad Bitch And She’s Going To Brag About It. Tweet Her Your Latest Cultural Exploits @Dewoju

ICYMI: THE EVOLUTION OF GOSPEL MUSIC IN NIGERIA