The Shuffle: That time Darey teamed up with Chamillionaire on “The Way You Are (Remix)”

Posted on by The Native

There was one positive thing that stuck out about Darey Art Alade when he first started gaining attention: His killer voice. Coming third place back in 2004 at the first iteration of the pan-African music reality TV show, Project Fame, Darey, in addition to being the scion of legendary Nigerian musician, Art Alade, clearly had the chops to be more than another forgotten contestant of a talent competition. Shortly after, he began to manifest his potential on the way to becoming one of the seminal Pop/R&B figures in contemporary Nigerian music.

In the hallowed halls of Nigerian male artists particularly known for their vocal prowess, Darey is in rarefied territory, boasting to a catalogue brimming with definitive songs grounded in the sheer power and range of his soulful voice. In 2011, he put out his third studio album, ‘Double Dare (HeartBeat)’, the rare double LP which largely justified its 80-plus minutes run time, using an eclectic music selection and a variety of effective features to advance the album’s listening experience.

In one of the best mergers between Darey and an outside voice, he was joined by American rapper Chamillionaire on the remix for one of the album’s lead singles, “The Way You Are”. In comparison to its frequency these days, international collaborations at the top of the last decade were a rarity, and this was made evident in the resulting songs— for example, Snoop Dogg’s slick verse on “Mr Endowed”, in hindsight seems more like an addition to the song than an actual component of the song’s fabric. This is what makes “The Way You Are (Remix)” so remarkable because it seems more like a meeting of peers and a combination based on synergy and mutual respect.

Remixes can be tricky, and sometimes the featured artist can have a negative effect on an already good song – in the case of relatively high profile guests, they can come across as though they’re doing the primary artist a favour. Granted, Chamillionaire was years past his commercial peak as a rapper at the time, however, he was definitely a positive addition to “The Way You Are (Remix)”, supplementing Darey’s r&b leading man charm in a manner that’s reminiscent of crossover Rap/R&B jams that dominated large parts of the ‘90s and 2000s.

Like an overwhelming portion of Darey’s catalogue, “The Way You Are” is about women, and even though there’s a romantic tone to it, it is hinged on body positivity. Although it can be accused of being heavy-handed and abrasive in tone, the song’s saving grace lies in its tacit acknowledgement of beauty standards and the specificity of accepting a lover’s physique regardless of what they think of their attributes. ‘I like the way you are’, he sings in a sweetly floating falsetto on the hook, almost as if his heart would be shattered if his interest doesn’t take to his words of reassurance—the execution wasn’t perfect but there’s no doubting the purity of his intention.

Keeping the original, glossy EDM-inflected r&b beat, Chamillionaire kicks off the remix with a verse where he admires his lover’s physical attributes and pledges his undying love to her. “Must be in heaven ‘cos your body is to die for/when you’re with me, I’ll never say odabo (goodbye)”, he raps with a charming verve. Rather than disappearing after the first verse, he returns for a boastful second verse and closing bridge, where his vocal interplay with Darey is heightened by a Reggaeton breakdown.

In the conversation about collaborations that helped build a bridge between Nigerian music and the west, “The Way You Are (Remix)” is barely ever mentioned, which is understandable since the song wasn’t exactly a commercial behemoth. Regardless, it showed that collabs between Nigerian artists and their foreign counterparts could be organic and quite seamless, long before global superstars started tapping Afropop for chart-topping hits and full-length projects.

It also highlights Darey’s flair for doing things his own way, and if his recently announced return to music continues in the same way, the big-voiced singer could still have more seminal music and moves to offer in the near future.

Listen to “The Way You Are (Remix)” here.

Featured Image Credits: YouTube/Darey

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

ICYMI: REMEMBERING THE PRE-LOCKDOWN PARTIES

Zerina Akers & Neal Farinah on The Afro-Caribbean inspiration for ‘Black Is King’

Posted on by The Native

Hailing from Trinidad and Tobago, culture writer, Tenille Clarke spotlights the Caribbean contributions to Beyoncé’s latest masterpiece, ‘Black Is King’. 

22 years into her career, the internet streets still go abuzz for a Beyoncé drop, with the debut of ‘Black Is King’ – a film directed by the 38 year-old Queen Bey – causing an inescapable ruckus when it was released a few weeks back, still retaining its relevance in news cycles ‘till today. Making its Disney+ debut on July 31st, the highly-anticipated movie was an undeniable celebration of African lineage and traditions. The film not only revisited the continent’s culturally-rich history, revered rituals and identities in multiplicity, but it also showcased a full exhibition of cultural reverence that allowed African people around the diaspora to find joy in their light, and to be seen. The treat in store was a visually stunning display of black excellence in all fashion forms, with many people enthralled by the dreamy sequences of scenery, such as the sharply styled “MOOD 4 EVA” highlight – which also included Hip Hop royalty, Jay Z rolling up to a mansion in a crisp Rolls Royce, and Beyoncé’s diamond encrusted teeth being brushed by a white butler while draped in a silk dollar-print robe by Duckie Confetti.

In the days following the film’s release, social media was rife with credits and congratulations to the innumerable African creatives that contributed to the creative direction of ‘Black Is King’. As talents such as, dancer Papi Ojo (who led Beyoncé in dance on “ALREADY”) and stylist Daniel Obasi (responsible for Tiwa Savage and Mr Eazi’s looks in “KEYS TO THE KINGDOM” and Wizkid’s “BROWN SKIN GIRL” feature) received high praise for their work, fans were quickly learning that key members of the film’s production team included creatives from the African diaspora as well. 

Beyoncé wears Valentino Hot Couture, A-Morir and, Christian Louboutin in “ALREADY”

Unsurprisingly, the Caribbean also made its creative presence felt in Black is King – with undeniable influence taking shape in such iconic moments as the life-sized chess board scene featuring avant-garde looks from Simon-Hartman London in “MOOD 4 EVA”, or the stunning 2-piece set on a sultry Queen Bey which distracts from Burna Boy’s visual absence in “JA ARA E”. Taking an audacious step into a fictitious world of next-level fashion and beauty inspired by The Lion King movie, celebrity costume designer and wardrobe curator Zerina Akers and world-class hairstylist Neal Farinah formed a part of the production team that brought their collective genius to the project, injecting their own unique understanding of real African culture through their powerful Caribbean experiences. 

A region of breathtaking islands some 7,000 miles west of Africa, quietly nestled in hypnotizing crystal blue waters with picturesque landscapes, the Caribbean Islands are popularly known for our enchanting “sun, sea and sand” tourism appeal. Notably, the Caribbean also has a heavy dose of African ancestry littered across the islands, further dynamized by our English, French, Spanish, Dutch colonial influences. From The Bahamas clustered in the North with their “Junkanoo” tradition, to the twin-island Republic of Trinidad and Tobago in the southern part of the island chain with its annual Carnival celebrations known as “The Greatest Show On Earth”, our culture is punctuated by the traumatic history of the Transatlantic Slave Trade – making this space profoundly multicultural. This complex cultural heritage and Afro-Caribbean familiarity and identity is what informed both Zerina Akers and Neal Farinah as they animated the ‘Black Is King’ film with their eye-catching handiwork.

Neal Farinah is a certified celebrity hair doyen who has been styling Beyoncé’s hair for over a decade. Speaking with me about his first inkling of what was to come, Farinah reveals that Mrs. Carter explained the concept of ‘Black Is King’ to him after a 2am on-site job, which she excitedly described at the time as “her baby”. As she showed him various references to African hair during their conversation over a year ago, he recalls being mind-blown by her inspirational ideas, but ultimately realising that the proposed workload was a massive undertaking that would require a skilled team of hairstylists who needed to be equally passionate about hair. Creating 40 varied wigs with intricate styles and hues in less than a week for a movie set is no easy feat – but that’s exactly what his team was able to achieve.

Beyoncé wears Tongoro Studio in “BROWN SKINN GIRL”

He tells me:

“What I love about Beyoncé, is that although she’s my boss when we’re working, we have a friendship. She gives me a platform to share my creativity, speak on (black) culture, and she’s always coming with something new and different. And I love that innovation about her because that’s who I am as an artist.” 

‘Black Is King’ interpreted intricate African hairstyles, such as the signature Mangbetu tribal crown from Eastern Congo worn to display royalty status in the 1900’s (“BROWN SKIN GIRL”); the Zulu Tribe’s bantu knots that symbolised a person’s marital status (“ALREADY”); the horned head braid work originally worn by Ethiopian Dinka and Mursi tribes to demonstrate prestige and power (“ALREADY”); and the outstanding Nigerian style known as Orisha Bunmi, worn for special events (“BROWN SKIN GIRL”). The finished hair products made definitive statements through colour, texture and length, courtesy of a team that spanned parts of the Caribbean.

“It was such a diverse team, all black, all powerful” Farinah gushes about working with a hand-selected team of hairstylists such as Xia Charles, Keinda Samuel, Kendra Garvey, Kamilah Gerestant, Nakia Rachon, Nicole Newland, Safiya Warner & Tashana Miles. Farinah worked meticulously to achieve his aim of broadening the dialogue on the customs and depictions surrounding hairstyling in the film, by paying an authentic tribute to a number of tribes in Africa that he would have learned in his own extensive and diligent research. “I had to have the best of the best, and I wanted to share that pie with everyone,” explained Farinah. The journey also helped him connect the dots to black hair in his own Caribbean heritage.

“Being a hairstylist raised in a multicultural country as Trinidad and Tobago, these ‘Black Is King‘ hairstyles meant something more. It was spiritual, it was generational power, it was respect and deeper than I ever imagined.”

Beyoncé wears custom Timothy White in “BROWN SKIN GIRL”

Wardrobe Stylist Zerina Akers praises Farinah as a longtime collaborator on a number of projects, explaining, “Over the years, I love how unapologetically himself he is at all times.” For her, calling on Caribbean creatives for ‘Black Is King’ – including London-based designer Melissa Simon-Hartman and the talented Tobagonian tailor Delia Alleyne – introduced a new wave of iconic ingenuity to the project. Referring to her as “a godsend”, Akers credits Alleyne for a number of memorable looks, including Beyoncé’s psychedelic opening outfit for the “JA ARA E” visuals, and Tierra Whack’s ominous cape in “My Power”. While Trinbagonian-Ghanaian designer, Melissa Simon-Hartman got credited for the custom-made black and white chessboard looks for the “MOOD 4 EVA” scene. The work ethic of her peers seems to be an intimate reflection of Zerina’s own Caribbean identity.

Always an advocate for clients and peers expressing their authentic selves through fashion, Zerina proudly admits that her Caribbean heritage has immensely shaped her styling skills. “I was never above working for free – [at the start of my career] I worked with many different stylists on many different shoots and I just took my time and learned,” says Akers. Speaking lovingly of her maternal lineage Zerina credits her own determination to succeed to that “Caribbean grit”. She also credits her Panamanian grandmother with teaching her how to sew – a Caribbean tradition which is often handed from women to their young girls.

“Having that upbringing has opened my mind to many different worlds; I would not just bring things home, but I would take things and ideas from my Caribbean home and bring it out into the world. It’s motivated me to get out there and do it, the good work.” 

Beyoncé wears Wendy Nichol in “BIGGER”

Following an overseas assignment in South Africa for Beyoncé’s Global Citizen Concert in 2019, Zerina admits that her creative eye was elevated from that single travel experience. She explains that she was able to bring depth to several ideas, such as inspiration from the award-winning work ‘For Coloured Girls Who Have Considered Suicide/When the Rainbow is Enuf‘ by playwright Ntozake Shange, as well as 90’s inspired Versace campaigns. Armed with extensive research, conducted alongside Creative Director, Kwasi Fordjour, Akers’ goal was clear ahead of production for ‘Black Is King’. She strategically set out on a monumental task with a desire to honour African culture as opulent and timeless, which led her to connect with a number of designers throughout Africa and the diaspora who would add value to the overall vision of the project. In Zerina’s eyes, African lifestyle is the epicentre of fashion – at the intersection of luxury and individuality. 

“I wanted to pull inspiration from traditional African cultures to contribute to the narrative and to connect that with the diaspora. So we have the design, the designers, but then we have the ghetto. And not to say that’s all that we are, but that’s where the heart is.” 

Setting out to explore new silhouettes, colour combinations and textures that were still visually familiar to Africa, Akers collaborated with an assortment of creatives for ‘Black is King’, such as Senegalese designers Adama Paris and Tongoro Studio, who appear in “BROWN SKIN GIRL”; art dealer Twiga Mbunda, who decorated “ALREADY”; American brand, Lace by Tanaya, spotted in “FIND YOUR WAY BACK” alongside a signature Egyptian-inspired headpiece forged in collaboration with Akers and couturière Natalia Fedner. In addition to sourcing the pieces worn, she also created a signature Egyptian-inspired headpiece collaboration with couturière Natalia Fedner. If fashion were a sport, then the end result of this style ode to Africa that is ‘Black Is King’ is olympian – careful, deliberate, game-changing and authentic. As with any medal ceremony, Akers has a top 3:

“The Valentino on the car with the all-leopard in “ALREADY”; Timothy White’s huge black gown from “BROWN SKIN GIRL” when Beyoncé is down in the cocoon and then she stands up, and then the floral tea party scene, not just her look but the entire scene – those 20 or so looks – that was just one of my favoUrite things to style.”

Beyoncé wears Area in “FIND YOUR WAY BACK”

In their own career film reels, ‘Black Is King’ is etched as an unforgettable highlight in the professional lives of both Zerina Akers and Neal Farinah. The Caribbean consciousness is at the forefront, centring their own lived experiences as African people.

Asked about “when the noise subsides” from the film’s current buzz, Zerina trusts that ‘Black Is King’ will leave Caribbean people with a burning desire to explore African culture and spirituality with a greater sense of entitlement and assurance. As Africans celebrate having their own people share their own culture through their own narratives, Zerina wants her Caribbean kin to enjoy the same delight:

“I want them to remember that they were also included, and that they were also present, and that the artistry was also present. It’s okay to walk into a room and know that you do own that room

For Neal, this is a moment to celebrate Caribbean joy, while recognising that a new journey has begun for his own award-winning career.

“Anything is possible in life (…) in helping to pave the way for other young artists from the Caribbean, I’m just rolling high and celebrating for all of us.” 

Beyoncé wear Burberry and Christian Louboutin in “ALREADY”

Credits:
All Images: Parkwood Entertainment
Hair: Neal Farinah
Stylist: Zerina Akers
Make-Up: Rokael Beauty

Tenille Clarke is an avid wanderlust, Carnivalist, cultural enthusiast and publicist who pens about her ongoing love affair with travel, culture and entertainment through a Caribbean lens. 

ICYMI: IN LOVING MEMORY OF PICTURE KODAK

Songs of the Day: New music from Darey, Crayon, SOLIS and many more

Posted on by The Native

Coping with the chaos of 2020 has taught us how to have a good time even when conditions are less than ideal. A huge part of that lesson has come from music, as artists continue to provide songs that build our optimism, with their resolve to keep the party going through the pandemic and increasingly traumatic news feeds. That’s why we’ve decided to highlight the best songs released from around the continent, thrice a week, in a bid to encourage that extra pep in your steps as you go through the rest of the year.

Over the weekend, we brought you new releases from Tiwa Savage, Reminisce, and AKA, as well as new singles from Kiienka, Playgirlfavy, and more. To kick this week off, get into new releases from Davido, Darey, Crayon, Terry Apala and PrincessMami, as well as a new video for SOLIS’s ‘RBV,U‘ single “don’t fall in love with a libra woman”. Dig in and enjoy.

“Jah Guide Me” – Darey

After a hiatus from releasing music, singer/songwriter Darey is back with a new uplifting single, titled “Jah Guide Me”. Over the up-tempo beat couched with vivid percussion patterns, produced by Pheelz, Darey sings about reaching the destiny that has been ordained to him. ‘I call on him, I must fulfill my destiny/In all my gettings, I go get money’ he sings, conveying his Christian faith and the immense peace that comes with surrendering your worries to the Most High. In the accompanying video directed by himself and Mex Ossai, Darey also addresses the pressures and shortcomings of living in Nigeria, depicting Nigerians in their daily settings in varying clips throughout the segment.

Crayon – “Do Me”

Mavin’s Crayon is back with yet another single, this time titled “Do Me”, and we’re wondering if the recent slew of releases are leading up to the artist’s debut project. Whilst the question floats around our collective pop culture consciousness, you can relax to the soothing sounds of “Do Me”, which finds the artist pleading with his love interest to be treated fairly in their relationship.

SOLIS – “don’t fall in love with a libra woman”

Earlier in the month, we declared that bedroom pop was now ‘Ruled by Venus, Unfortunately’ and SOLIS continuously proves that she’s worth all our flowers. Over the weekend, the singer/songwriter released the video for one of the tracks on the recent project, “don’t fall in love with a libra woman” and in usual SOLIS fashion, it’s home-made feel gives off the impression that this is truly SOLIS’ universe – we’re all mere guests in it. Shot, edited and directed by the talented artist herself, the video for “don’t fall in love with a libra woman” sees SOLIS performing in various bedroom sets. This video everything we expected and more as it truly captures the essence of the message SOLIS wishes to pass across to her listeners: she loves them.

Snakehips, Jess Glynne – “Lie For You” featuring Davido & A Boogie wit Da Hoodie

If you ever wondered what a crime-fighting animation of your favourite afropop star would look like, then Davido has got you covered, teaming up with British electronic music duo, Snakehips, Jess Glynne and A Boogie wit Da Hoodie for the video to their latest collaboration, “Lie To You”. In these visuals, we see animated Davido and Jess Glynne being chased by their opponents, each time they coming out successful. The song’s medley of r&b, pop and afropop makes for a pleasant listening experience as you watch it all the dramatics play out, so why not sink in below?

Princess Mami – “Band$”

London-based Nigerian rapper, Princess Mami is back from her hiatus with a fun new release titled “Band$”. Her latest single, “Band$” introduces Princess Mami as the newest irresistible girl rapper on the block with a firm declaration to talk her shit confidently in a way that leaves her listeners all the more in love with themselves. “Yeah I never miss, yeah I only make hits/I keep it classy, boujee and I’m still fucking rich” she raps with a self-awareness that some may find intimidating, but rather than focus on that, Mami realises her confidence is her power and encourages others to live as carefree as she does. It’s fun, it’s light-hearted, it’s punchy, and it’s one of the many reasons why we’re certain women are leading the rap revolution in Nigeria. You all better keep up.

Featured image credits/Youtube/IamJinius/DaniellMbonu

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

ICYMI: Here’s all the new music you may have missed last week

There’s an ‘Osuofia In London’ sequel coming in 2021

Posted on by The Native

It can be hard to keep up with the rapid pace of events unfolding during lockdown because each week brings with it heart-rendering news from every corner of the world. With the decreased physical and social interactions due to the global health crisis, there are fewer opportunities to have fulfilling emotional interactions throughout the day–particularly if you’re not keen on being glued to your phone screen all day.

To counteract this loneliness, many members of our community admitted that they were seeking out old habits, through music or film, in a bid to ground themselves with something familiar for a sense of stability in today’s world. Well, now we have something exciting to hold on to until there’s a sense of normality again.

 

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Charles Okpaleke, a filmmaker and the director of Play Network Studios, has announced yet another sequel to a beloved Nollywood classic ‘Osuofia in London’, a cinematic staple in many Nigerian homes and arguably the highest selling Nollywood film in history.

Following his recent involvement in Genevieve Nnaji’s 2018 release ‘Lionheart’, beloved actor and comedian Nkem Owoh will be returning to our screens, and this time, he’s left London for the sunny shorelines of Miami, Florida as ‘Osuofia goes to Miami’ is set to hit theatres in 2021. The film will be directed by Agozie Agwu and though there are no further details on which adventures Osuofia will be getting up to while in Miami, it’s clear that wherever Osuofia goes, trouble shortly follows as seen from the last two films.

While we wait for the film to hit cinemas next year, you can rewatch ‘Osuofia in London’ here on Youtube.

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

ICYMI: There’s a remake of Nollywood classic ‘Glamour Girls’ in the works

GEMS: A list of the best songs released this week

Posted on by The Native

Every Saturday, 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 Song From All Over The Continent. Our Main Goal With This List Is To Make Finding Great Music Of The Moment Easier For You.

“Tattoo” – Fireboy DML

We’re a few days away from the arrival of Fireboy DML’s sophomore album ‘APOLLO’ and with each new pre-released single, we’re infinitely more excited to hear what he gives us this time around. For his latest single, “Tattoo”, Fireboy DML is switching the romantic lover boy flows from previous releases like “New York City Girl” for a more audacious sex-positive track, where he welcomes his sexual inclinations and encourages you to do the same.

He sings: “Make I be like tattoo for your body/when you need that bamboo just call on me” on the hook, and in his usual fashion, melds afropop and r&b perfectly and uniquely with salacious verses to set the tone for his explicit charm. The mid-tempo beat led by keys and heavy bass, sets the cosy bedding for his melodic visuals as he continues to lay out his desires, ‘I dey see your pure desire/make you no go try deny am’ he sings, encouraging his muse to own her carnal desires as they are a natural part of the human experience. 

Growing up in Nigeria, sexuality was demonised, from the church, to the family home, and even in schools where the curriculum harmfully excludes sex education, thereby not leaving room for teachings about consent and rape culture from teachings. This is what makes it so important for artists to cover these topics in their songs, and normalise talking about them so that their listeners are encouraged to explore that side of themselves more confidently. With “Tattoo”, Fireboy DML has shown that he’s got the range on lock and he’s an artist with a whole lot more to say.

“Gotta” – Kiienka featuring SGaWD

Since the release of his sophomore project ‘Spaceman 2.0’ back in May, Port Harcourt-based rapper, Kiienka has shown he’s got the right elements to be one of the best young voices from these parts, and we can’t get enough of his impressive lyrical chops and his rapid-fire punchlines.

For his first solo offering since the project, Kiienka has just put out a two-pack single titled ‘Grateful’, however, it’s on “Gotta”, the single featuring Abuja-based rapper SGaWD that we truly witness his unfiltered confidence and clever wordplay. “Came out the mud, I had dirt on my shoes/Grateful For Life ‘Cos I Never Thought I’d Make It This Far” he raps, addressing his success so far, sending a clear kiss-off to the naysayers who doubted his abilities. Kiienka is in celebratory mode; despite where he’s come from, he’s done immensely well for himself and no one can take that from him.

The second verse is taken by Fresh Meat alum, SGaWD, who is known for her immense talent as both a rapper and singer. For “Gotta”, she’s clearly singing but with the confidence of your favourite emcee, “Hella rich niggas be texting my phone/even your homie try to hit on the low” she coos teasingly, as she demands to know if she’s still wanted, ’cause she’s got a phone full of admirers she’s kept at a distance. It’s come correct or get replaced for SGaWD – we love to see it.

“Fàyá” – Mo’Believe 

Our first introduction to Mo’Believe’s Yoruba folk music portrayed him as a cheerful artist who also knew about struggle and perseverance. On his debut tape, ‘Ariwo Èkó’, he split the time between singing about palm wine induced festivities and the suffering from living in poverty. Two years later, after growing more recognition from performing in concerts, including the annual Gidi Fest, the singer looked set to cross over to more mainstream audiences. Though he lost his studio to a fire accident in February, Mo’Believe has remained positive on his follow-up tape, ‘Big Daddy Mo’. The 6-track offering of upbeat songs made it clear that he wanted to push beyond the setback and focus on his ascendence to a place of comfort. 

Mo’Believe is not pretending he wasn’t fazed by the fire incident, releasing a new single, “Fàyá”, narrating his experience dealing with the loss. Jay Blakez produced the song with a percussive beat that mimics the groovy ambience of a live band set. The blissful harmonies and backup singers serve as the perfect backdrop to Mo’Believe’s Yoruba lyrics as he expresses joy at the fact that the fire wasn’t worse than it was; “Irin ise lo jono. Ina o gbe orin lo” (only tools were burnt/ my talent is intact). Mo’Believe‘s traditional brand of Afropop  tends to retain some contemporary elements of the present times, but on “Fàyá”, his celebration of life comes across as spiritual and would fit right into the testimony period at church services.  

“Do Me” – Crayon

Crayon’s flow is arresting. When he opens his mouth, he deploys words with effortless precision and assertiveness of a seasoned veteran. Though the 20 year old singer from Ebonyi state is a relative newcomer in Nigeria’s music scene, he has remained a constant feature on Afropop playlists all year round with his impressive work rate allowing him to release 7 new singles this year alone. 

His latest single, “Do Me” continues his penchant for making romance themed bops. Thanks to expert production from Baby Fresh, “Do Me” is primed with the right drum riffs and overall percussion to serve dance floors. And though the pandemic has not been encouraging for our dance floor antics, Crayon’s opening lyrics, “Show me your waist work/ I go give you the moonwalk/ We fit do am for TikTok” suggests the next best alternative: that your cool dance moves can earn you clout on social media.  

Beyond serving our need for partying, “Do Me” is romantic song with an aggressive edge as Crayon delivers a warning call to anyone that tries to get between him and his love interest. He comes out swinging at “Amebos” and “another man”, threatening to “Kpa Kpa ti tan mental”. Though it’s not clear to me what exactly “Kpa Kpa ti tan mental” means, it doesn’t sound pleasant for the person on the receiving end. Crayon’s confessions of undying love for his muse are hard to dispute after hearing him cuss out his haters in those unintelligible words.

“White Nose Shit” – $hadow 

An ode to that beautiful inhalable snow, $hadow’s “White Nose Shit” is a transparent confession of his fancy for the classy Class A. Boasting that he’s on the drugs that do actually ‘show for face’, $hadow needs no company – especially if it’s from the opps – except maybe a girl who can match his high at 4am. Repeating the chantable chorus twice, $hadow takes us all the way to the halfway mark before he delves into his one and only verse. Here, $hadow retains his no nonsense attitude, firing through a bunch of “don’t like”s before opening up about his association with the trap life and the glamorous jewellery that coms with it.

Paying most attention to the chorus of the song – rightly so because it’s outlandish, provocative, catchy and basically everything good in a hook – the best thing about $hadow’s latest is that there is all the right focus and emphasis on its most alluring elements. Coming in at just over two minutes, “White Nose Shit” isn’t unnecessarily prolonged, but the upbeat track still finds time to shine a light on the moody production that transports us eagerly into the void fashioned by $hadow on his latest body of work, upon which “White Nose Shit” sits.

“First Time” – LunaLovesYou ft. 234jaydaa 

Premiering on DJ Femo’s No Signal radio show, ‘Welcome To Chaos‘ LunaLovesYou brings back the soft guitar chord-opening that I fell in love with on my first introduction to the starry singer, “Dear V, I’m Sorry” – so instantly, “First Time” hits the mark for me. “First Time” takes us through the painfully familiar feeling of loving a fling a little too much, confessing through song on her opening verse, “I know I haven’t seen you lately, that’s cos we never dated/I don’t know why I treat you like my lover“. As if the mellow R&B instrumentals weren’t emotional enough, “First Time” takes a turn for the even deeper at its sensual chorus, where the song’s title comes into play. Remembering the “first time I laid up on you“, LunaLovesYou justifies why she’s holding onto something that she knows isn’t real. Hand on heart, I feel that.

Passing the baton to 234jaydaa for verse number two, “First Time”, evolves from being a typical sex-driven R&B song (I’m reminded of Trey Songz’s “Dive In” and “I Love Me Some Him” by Toni Braxton) into an dreamy and dynamic record, thanks for 234’s unique singing and her new found affection for rapping, which she throws into the mix on here as well. Everyone with good sense is paying attention to these two singing voices – 234jaydaa and LunaLovesYou – so this collaboration came off the back of some pretty high expectations. Did they disappoint? Me thinks not.

 “Apala Drill” – Terry Apala x Major Bangz  (feat. AO-The Machine)

Terry Apala’s entry into the mainstream was characterised by the unique use of his Fuji-indented cadence, retooling it to fit into contemporary sounds without coming off as gimmicky. It’s been over four years since “Champagne Showers”, and Terry hasn’t quite reached the heights many predicted for him, however, he still has the magic touch that made him riveting when he was first introduce. With little pre-release hype, he’s dropped a new collaborative EP with ace producer Major Bangz, ‘Major Vibes’, and the tape finds Terry gliding across several sonic styles, with his voice as the unifying element.

Of the 6 comprising tracks, “Apala Drill” showcases Terry at his sharpest, making full use of his knack for innovation for a song that sounds very cutting edge. Co-opting the drill subgenre, Terry zones out in a fit of bravado that find’s the balance between drill’s innate tilt towards aggressiveness and his carefree persona. Assisted by AO-The Machine’s instantly memorable hook, and Major Bangz’s sinister and rumbling production, Terry adopts a speedy flow, zooming across each of his lines with the same uninhibited energy. His boastful raps are not the most inventive (“This is not gambling, I’m very good at it/very soon we taking over, Apala music to the world”), but he delivers them with a bulletproof conviction that’s difficult to overlook.

“Amanikiniki” – MFR Souls (feat. Kamo Mphela & Bontle Smith)

Even though it primary blew up on the back of its readiness for dancefloor purposes, practitioners of Amapiano have made it a duty to showcase and continue to explore the many dimensions to the South African house subgenre. As their name indicates, production/DJ duo MFR Souls mostly operate on the soulful, lusher side of the Amapiano spectrum. They’ve just dropped a new album, ‘Musical Kings’, an expansive listen that doubles down on already established traits and pushes them further into other spaces within the Amapiano confines.

Lead single, “Amanikiniki”, is something of a declaration that MFR Souls can do overtly clubby jams with the best of their colleagues. In previous features and on their debut album, ‘The Beginning’, the pair often looked to balance the propulsive nature of Amapiano with emotion-invoking quirks, however, they completely embrace the former to ensure their intentions with “Amanikiniki” is unmistaken. On the song, featuring chuffing synths, sparkling piano riffs and a bouncy bassline, Bontle Smith and Kamo Mphela deliver charismatic vocal performances, dovetailing around each other for chemistry and exuding a thousand watts worth of energy.

Although all their lyrics are in isiZulu, there’s enough references to “blessers” to infer that Bontle and Kamo, two increasingly prominent women in a very male-dominated Amapiano scene, are touting the spellbinding effects their bodies have on men. Whether you understand the words or not, “Amanikiniki” is a dance cut that expertly combines the attributes of its collaborators into a phenomenal whole.

Words By Tami Makinde, Debola Abimbolu And Adewojumi Aderemi

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

5 Takeaways from Burna Boy’s new album, ‘Twice As Tall’

Posted on by The Native

Burna Boy is the living, breathing representation of the popular saying, “we go again.” Earlier today, the afro-fusion singer dropped ‘Twice As Tall’, his fifth studio album and his third full-length in three consecutive years. Since ‘Outside’ dropped in early 2018, Burna has been on a tear, selling out concerts across the world, gracing international festival stages, snagging a Grammy nomination, amongst many other achievements.

Still, Burna has made a commitment to going again at every chance possible, using his prolific streak to cement himself as one of the greatest voices of his generation. In recent interviews leading up to the album release, Burna Boy made it a duty to emphasise that ‘Twice As Tall’ is a continuation of the mission he started with ‘African Giant’ last year – putting on for African pride and raging against colonial structures.

The album’s short, yet extremely intentional roll out shows just how dedicated Burna Boy is to giving his fans the best album experience, even beyond the music; and our clamouring for the album regardless showing just how much his actual music is revered. The result, a carefully-curated, reflective 15-track project houses all the versions of Burna we have become familiar with over his 7-year stint in the game, and after a full day of listening, we have many thoughts.

From the incredible sonic quality to his intricate songwriting, ‘Twice As Tall’ definitely leaves an unforgettable impression. While we get more and more familiar, we’ve put together a list of 5 things that stood out to us, after our first few listens:

Burna Boy definitely relishes setbacks

Last year, Burna called out the organisers of Coachella for putting his name in small fonts on the digital flier announcing the list of 2019 performers. “I am an AFRICAN GIANT and will not be reduced to whatever that tiny writing means,” he wrote on his Instagram stories at the time. Even though he faced some backlash for his comments, Burna clearly went on to acquit himself – through the music. This time around, the motivation behind ‘Twice As Tall’ seems to be the fact that he didn’t win the Grammy award for Best World Music album, and it’s made clear from the first track where he sings: “I remember I couldn’t level up, ‘cos the Grammys had me sick as fuck, throwing up. Asking questions like, why it wasn’t us?”. It doesn’t take long to shoot right back to his swaggering ways when he reaffirms us and possible himself singing: “tell them, they can’t bury us.”  Since his rebirth, Burna has seized being the underdog, however, through his music, each time, he uses any hint of underappreciation as fuel to drive him to whatever next level he wants to attain.

Giants feel things too

Burna Boy isn’t afraid of getting real about his emotions. On the title track of 2018’s ‘Outside’, he referenced the currently incarcerated Jamaican dancehall singer, Vybz Kartel, laying out his mother’s—and indirectly, his—fears that he would get in his own way before truly blossoming into a superstar. In the same vein as its intro track, ‘Twice As Tall’ is littered with gripping moments of honesty and introspection, offering us sharp insights into Burna’s mindset as he surveys his surroundings and digs deeper into his psyche. On closing track, “Bank on It”, he spits the gut-wrenching passage: “Anyone of us could have been Pop Smoke, we must go when the most high call us/So I’m paranoid, borderline bipolar/wear my vest and clean my gun up, I ain’t going out breda”. It’s in moments like these, Burna reminds us that he’s human and just like us, he has fears. This relatability, which he communicates pretty well through the music, is his real superpower.

At the same time, Giants are truly invincible

As comfortable as he is with expressing the softness on the inside, there has never been any doubt in the fact that Burna is not the one to fuck with. Bravado has been a constant part of his music, but on ‘Twice As Tall’, it forms the foundation and hangs on the veneer. There’s a shit tonne of boastful moments throughout the album, and rather than just being vainglorious, Burna’s stance is informed by a knowledge of self and an assurance that he’s doing exactly what he’s supposed to be doing.

This is where he shows that he’s a writer’s writer, which is ironic because he’s told anyone who cares to listen that he never puts pen to paper. Many of the greatest writers adopt this method, from Jay Z to Roddy Ricch, and it’s clear that when he’s in god mode, the intricacies of his writing glimmer even brighter. Quotable lyrics such as “I bring the thunder like Muri”, “Used to roll with a shank like Julie” and many more come bursting out of him unabated.

Well-placed features and sonic malleability

In comparison to the packed line-up of guests on ‘African Giant’, Burna’s new album is sparsely populated by visiting voices, who are all placed to be at their most effective. On “Level Up”, the drums are dropped out for Senegalese legend, Youssou N’Dour’s otherworldly chants along orchestral strings and synths, while Chris Martin’s soft tenor only serves to anneal the rumbling energy Burna dissipates while he’s violently shaking colonialist tables on “Monsters You Made”. Elsewhere on “Time Flies” and “Real Life” he shows off his musical malleability where his synergy with each featured artist and previous collaborators – Sauti Sol and Stormzy.

The stellar assists also extend beyond vocal assists, as Burna gathers an elite army of producers to craft the soundscape of ‘Twice As Tall’. Eleven producers show up on the 15-track project, with multiple credits to Telz, Leriq and Rexxie, while DJDS, Jae5, Skread, Sauti Sol and P2J all snag up solitary production credits. The album also includes contributions from legendary American producers Mike Dean, Mario Winans, Andre Harris and Timbaland. With all these hands behind the boards, ‘Twice As Tall’ is arguably Burna Boy’s most cohesive album yet, sonically; the beats are eclectic, but they all pull together in enhancing the front-to-back listening experience. In addition, the sound quality is phenomenal—there are no noticeable engineering missteps like there were on ‘AG’ with say, “This Side”. The album is great to listen to with good earphones, but you really should try listening to it on good loud speakers.

Get in loser, we’re not contributing to homophobia in 2020

Last week, Sam Smith shared “My Oasis”, featuring Burna Boy, and a section of the timeline was ticked off at an openly queer person who was working with an artist who had expressed homophobia in the past. While there were those who defended Burna with the idea that he’s probably grown past those tweets, the singer might have just handed his critics the stones with which to pelt him with. On two occasions in ‘Twice As Tall’, Burna Boy sings questionable, homophobic lyrics which could quite frankly have been left out to absolutely no effect.“I no be one of those men fear toto, fuck nyash”, he sings on “Wetin Dey Sup”; “But if dem wan fuck you for nyash, make you no lie down”, he says on the Stormzy-assisted “Real Life”.

Both times, Burna takes a swipe at members of the LGBT community as a way of affirming his own personhood, and in turn regurgitates the same retrograde, nonsense thinking that continues to play a role in making life more difficult for queer people all over the world. What makes it even worse is that, he clearly knows better but he chooses to espouse this ideal with zero provocation. For someone who’s publicly proclaimed that he’s fighting for all Africans against the systematic oppression of colonialism, it’s off-putting to hear him express homophobia in his music, and it begs the question of whether he’s truly interested in seeing the end of all forms of oppression on the continent.

Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

ICYMI: WHY YOU MIGHT BE CYNICAL ABOUT SIMI’S APOLOGY TO THE LGBTQ+ COMMUNITY

Kasien Releases Debut EP, ‘I Found Paradise In Hell’

Posted on by The Native

Today has been a phenomenal day for new music. Burna Boy’s third album in three years, ‘Twice As Tall‘ is a resounding hit, underground producer, Rvdical The Kid has dropped a five-tracker worth mainstream note, and on the streets of London, Kasien’s debut EP is keeping listeners in the gassed-up summer mood – despite the rain.

Titled, ‘I Found Paradise In Hell‘, Kasien’s project number one is a confident piece that does not shy away from bearing the artist’s soul, however. Using vulnerability as his power, Kasien raps (and sometimes sings) about his great escape from the trenches – life hasn’t always been rosy for the South London rapper, but now he’s on a high and ‘I Found Paradise In Hell‘ is the project to prove it.

Opening with minor musings on the familiar “All I See” (vivaciously produced by Myles Williams) Kasien lets us know from early that he is making a scene, as he raps on the lead single. “Playing like [he’s] in the big league“, throughout the EP, Kasien not only exudes an infectious confidence but backs that up with a contagiously positive attitude. His bars, “I’m just tryna celebrate but bring beef I won’t run away” on the effervescent “Wishlist” affirm Kasien is not the kind of nice guy you’ll get away with crossing. 

Recorded across the States and in Kasien’s home town, London, ‘I Found Paradise In Hell‘ convokes a wide range of talented producers, including ‘K2”s Kelvin Krash, with whom he touches base for the trippy and playful bop, “Aimin”. Firing through a breathless second verse, on “Aimin” Kasien shows his ability to adopt multiple rapping styles, even ending the songs with the “hey” “uh” adlibs we’re hearing so much of from the new age rap kings. Singing on the preceding song which refusing to blaspheme, “Oh My Gosh”, Kasien goes through the EP with a good display of his versatility.

A real hero on this number is Cadenza, responsible for the lead single, “All I See”, the closing track, “Moneybag Szn” ft. BEAM (the only track for which Kasien enlists help), and the otherworldly production on “On Fire”, where his skills really shine. Cadenza also co-produces “Cloud 9” along with Two Inch Punch and Guilty Beatz, the latter’s contribution audible through the track’s multitudinous percussive elements. Singing on the song’s hook “I was in my feelings but I’m up now“, “Cloud 9” captures the real essence of the project. Kasien found paradise in hell and it’s well worth the listen.

 

Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju

ICYMI: LISTEN TO BURNA BOY’S HIGHLY-ANTICIPATED FIFTH STUDIO ALBUM, ‘TWICE AS TALL’

Join Ballantine Whisky’s all-female live DJ set tomorrow

Posted on by The Native

Last year, British-Nigerian DJ Chinwe Nnajiuba, aka Juba, released ‘Assurance’, a 30-min documentary to shed light on the cultural and societal expectations that have stifled women who DJ from achieving the same success as their male counterparts. The doc unsurprisingly revealed that female DJs were grossly underrepresented in the music scene, despite there being a plethora of women who can hold their own and spin mixes that keep the crowd satiated and entertained no matter the tempo.

The documentary revealed the harsh, yet important truths about the way women are viewed in the music scene, particularly those here in Nigeria where the DJs in the documentary operate. Since then, we’ve been making a conscious effort to put more women who DJ on by rally behind them and supporting them when they are working on new projects and here’s your chance to follow suit.

This weekend, Ballantine’s Whiskey, will be hosting an all-female live DJ set from four of Mzansi’s top-notch female DJs including Playgirl, Scottthegirl, Lady Sakhe, and DBN Gogo live on Ballantine’s Facebook page. The live stream will be to celebrate women’s month in South Africa and will feature popular sounds from the country such as Amapiano, GQOM and House.

If you’re looking for a fun and engaging way to spend your Saturday night, look no further, as these women have you covered with groovy sounds from around the continent running. The live stream will be on from 8 pm until midnight, tomorrow, click here to watch.

Featured image credits/BallantinesWhiskeySA

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

ICYMI: Juba’s ‘Assurance’ documentary explores gender bias in the Lagos music scene

Watch Lyta in the colourful video for new single, “Hold me Down”

Posted on by The Native

Back in 2018 when Lyta’s 2018 debut, “Time” put him on the radar, his Yoruba-fueled melodies caught the attention of several tastemakers such as Davido and Olamide, who showed interest in nurturing his talent into a fruitful career. The 22-year-old has however chosen to pitch his tent with Marlian Music, as he announced his contract with the label earlier this week and quickly followed up with a new single, “Hold Me Down”.

“Hold Me Down” is Lyta’s first single under Marlian Music management and the song sees him exploring a more seductive narrative than we’re used to from him. Singing “Anything to make you happy/ I get money, sho mo?” over the catchy beat Quebeats produced with a laidback drum riff, Lyta flexes his writing chops by subverting the vulnerable trope of romantic songs with boastful lyrics. He proves how attractive confidence can be, by laying down his game and shamelessly references his hit song, “Time” as though to remind his muse that he’s a certified hitmaker. It’s an unorthodox approach to win the heart of a lover, but Lyta has the charisma and melodies to make it convincing.

The music video directed by Wole Genius also emphasises Lyta’s alluring personality, through the scenes showing him serenading his muse in different colourful sets. Pay attention kids, you can learn a thing or two on how to impress your lovers here.

Watch the video for Lyta’s “Hold Me Down” below.

Update: Unfortunately, the singer and director are under fire for allegedly plagiarising a video by K-pop artist, GOT7 for the song “Right Here”. Although Wole Genius insists that he was inspired by the video, however, a play-by-play of both videos right next to each other would suggest that it was more than a source of inspiration. Check it out here:

 

Featured Image Credits: YouTube/Naira Marley
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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: Watch the music video for Lyta’s “Worry” here

Wizkid, Adekunle Gold & Omah Lay link up for DJ Tunez’ “Pami”

Posted on by The Native

Last month, in a late-night cryptic tweet to fans and followers, Dj Tunez hinted at a new single featuring Omah Lay and Wizkid, inadvertently sending Starboy FC into a frenzy as streets were hot and ready for a Wizkid collab with one of the year’s indisputable breakout stars. By the following morning, Adekunle Gold seemed to have joined the mix and it became clear that a mega-hit was on the way. Today, “Pami” is here and we can confirm, it does exactly what the title suggests and so much more.

 

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Starting off with soft keys, acoustic strings, and a slow melodic tempo, “Pami” gradually picks up as we hear Omah Lay’s hypnotic vocals come into focus on the song’s hook. Serving as a smooth introduction into Wizkid’s verse, Omah Lay sings ‘Pami o/Only Wizzy be your daddy o, because me I no get time’ declaring that Starboy is better suited to guide the ladies into euphoric bliss.

His melodic vocals are primed to ride the waves of the drubbing Blaize-produced beat perfectly, as the hook seamlessly segues into Wizkid’s killer verse, that it’s almost too easy mistake him for Omah Lay before you hear that distinct Starboy drawl. ‘Shey we go make am to the morning/they no fit quench our flame’ Wizkid sings, addressing a love interest who from what we gather, is the only one that can tame our Starboy.

Wizkid admits that he’s unafraid to declare his love for this woman who has been so good to him that he’s resolved to singing about their relationship in song – we’ve seen lover boy Wiz so many times, we’re unsure if this is actually the one. In any case, the bright enthusiasm in which he sings assures us (and his lover) that whatever the case may be, Starboy dey for you. Adekunle Gold makes his entry in the song’s final verse, and makes a compelling case to be a die-hard romantic as he sings ‘One man down on the love highway/Look what you have done to me, this love e go make me commit’ admitting that he’s too smitten with his love to recant on their commitment to each other.

Stream “Pami” below.

Featured image credits/Instagram

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

ICYMI: Listen to Burna Boy’s fifth studio album ‘Twice as Tall’

Listen to Burna Boy’s highly-anticipated fifth studio album, ‘Twice As Tall’

Posted on by The Native

Since its informal announcement a few months back, Burna Boy’s fifth studio album, ‘Twice As Tall’, has been shaping up to be Afropop’s event of the summer. Last week, he detailed the album, sharing its release date, the project tracklist and revealing that Diddy co-executive produced the album alongside Burna himself and Mama Burna. As scheduled, ‘Twice As Tall’ is now out in its entirety, featuring fifteen tracks, including the previously released lead single, “Wonderful”.

The follow-up to last summer’s Grammy-nominated ‘African Giant’, the new album is Burna’s third full-length project for the third consecutive year, consolidating on his back-to-back MVP runs from the last two years. ‘Twice As Tall’ features guest appearances from Coldplay’s Chris Martin, Stormzy, Sauti Sol, Senegalese legend, Youssou N’Dour and the legendary Naughty by Nature, whom Burna Boy has cited as his childhood heroes. Production on the album is primarily handled by Telz, P2J, Leriq, Rexxie, Jae5 and Skread, with additional contributions from Timbaland, Andre Harris, Mike Dean and more.

Word on the Twitter streets last night when it dropped was that ‘Twice As Tall’ is an instant classic, and we’re obliged to agree. With intricate songwriting backed by an eclectic range of beats, Burna’s artistic growth is clear throughout each song, both sonically and lyrically. The music is quintessentially him, and you can hear his raw emotion from introspective songs like “Level Up” and “Way Too Big”, to more playful numbers like the Rexxie-produced “Bebo” and the Telz-produced “Onyeka (Baby)”. 

In addition to the fire music, Burna Boy has also dropped “The Secret Flame”, a comic book to accompany the album. Narrated by his grandfather, Benson Idonije, who famously managed Afrobeat pioneer, Fela Kuti, the book follows Burna through a spiritual journey that involves Yoruba mythology, while also highlighting the marquee moments that have been integral in building of the singer’s myth up until this point. Limited physical copies of “The Secret Flame” are currently available for purchase on Burna’s website, and ‘Twice As Tall’ is available to stream and download across all digital platforms.

You can listen to ‘Twice As Tall’ here.

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

ICYMI: BURNA BOY IS LOOKING ‘TWICE AS TALL’

DJ Cuppy Links Up With Stonebwoy For Her Latest Single, ‘Karma’

Posted on by The Native

We’re in the final build-up stages for DJ Cuppy’s much-anticipated debut album, ‘Original Copy‘. Having convoked an incredible line-up of featured talent – which includes Rema (who appeared on the lead single, “Jollof On The Jet” alongside Tanzania’s Rayvanny), Darko, Ms Banks, Wyclef Jean, and Teni (who we haven’t heard from in way too long) – Cuppy has more than piqued the interest of even her critics, and her promotional singles only serve to prove that she could possibly do well as an artist in her own right.

Today, following up “Jollof On The Jet”, is a Stonebwoy-assisted number, “Karma”. Stonebwoy takes a hold of this super uplifting record, not only opening the track with a class performance, but also trailing Cuppy through her chorus as the two harmonise over the repetitive hook. With Cuppy taking on some of the Ghanaian reggae singer’s patois inflections, these two are a strong match, which ties in perfectly with the loved-up topic of the song.

Both Stonebwoy and DJ Cuppy are looking to convince their respective lovers (whom I’m not unconvinced might be each other) that they’re the one for them. Stonebwoy begins his campaign by bragging about himself, in a bid to prove he’s worth this cool girl’s time, singing yet another COVID-19 reference (we’ll be hearing about coro in songs for years to come): “virus can’t catch me now see my software it be up to date“.

DJ Cuppy finally enters onto the track with her pre-chorus, “Fine fine baby I no go fit deny na you day craze me”, before she goes on to proclaim, dutifully accompanied by Stonebwoy, that she is her lovers’ good karma.

The positive repercussion of Karma are hardly ever explored in love. If what goes around comes around, then good loving will come to those who do good, right? Sounds like facts, but unfortunately when it comes to matters of the heart, Alicia Keys’ ’03 “Karma” typifies our approach to karmic references in music: bitter ballads passionately narrating how the heartbreakers have theirs coming.

Well Cuppy isn’t here for any negativity. She is bringing a refreshingly high-spirited outlook to the subject of karma in love, and it’s the most fitting trope reversal you’d expect from the smiley pink-haired TL comedian.

Featured Image/DJ Cuppy

Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju

ICYMI: BURNA BOY IS LOOKING ‘TWICE AS TALL’

Burna Boy Is Looking ‘Twice As Tall’

Posted on by The Native

Back in January last year, Coachella unwittingly sparked a new era in Nigerian pop – The Burna Boy Epoch. Mad that his name was penned in that hardly visible font that suggests the act isn’t really much of a draw, Burna Boy took to his Instagram story on an infamous rant that birthed the ‘African Giant’. Giving Coachella and the critics a big middle finger, Burna Boy came with a slew of hard-hitting singles, which culminated in the universally acclaimed fourth studio album, and an enduring, expeditious rise to global fame.

Already a Goliath in the music-making game, post-‘African Giant’ Burna Boy has risen to heights and territories hardly chartered by his predecessors. Populated headline shows, live performances on American late night TV and most remarkably a ‘Best World Music Album’ nomination at the 2019 Gramophone Awards – joining only, Babatunde Olatunji, King Sunny Ade, and the Kuti brothers as Grammy-nominated Nigerian artists for their own original works – Burna Boy now firmly stands ‘Twice As Tall’ as himself, as possibly even his peers. It’s an album name and a testament to his growth over the past year.

When speaking about the conception of ‘African Giant’, Burna Boy mentioned that 2019’s most acclaimed record was not the album he had in the works to follow up ‘Outside’, rather explaining that the world needed to hear what he had to say, about his skills, his nation, the union of other African nations, and his knack for fusing music from a broad spectrum of global regions. ‘Twice As Tall’ may or may not be the album Burna Boy started making after ‘Outside’ way back in 2018 (he’s told NME that this latest body of work is “a continuation” from the last), but it is the album that will cement his position as the greatest giant of them all – or so ‘TAT‘ is intended.

Coming out once the clock strikes twelve, we have just a few hours before we hear the drilling of Burna’s Walk of Fame star into the global music scene, but from the album’s creative and enticing roll out alone, ‘Twice As Tall’ is sitting in a league of its own when it comes to Burna’s previous projects, and is rivalled only by big budget label signees.

Reminding us of the album’s midnight arrival (as if we could have forgotten) Burna Boy released a Fortnite-esque trailer, depicting himself as a literal giant in what looks to be an Egyptian expanse – suggested by the pyramids and a side profile of The Great Sphinx of Giza. With his loyal support system crawling up his arm, Burna Boy shows that he’s got the whole team on his back. The album artwork, which I’ve heard some speculate to be his best album cover yet, Burna captures the essence of the trailer, what we hope will be the album, and most importantly, where he’s at in his career. In his own world, Burna Boy’s stomping ground is the worldwide sonoscscape – wherever his gorilla soles lands is his territory. Burna Boy doesn’t simply want to leave his mark with this drop, he aims to leave a mile-long footprint that no other artist will ever stamp out –because he is ‘Twice As Tall’.

His other promotional tools are a fan-inclusive YouTube Live countdown (tune in via the details below), a long-expected merch drop, and finally an offbeat comic book titled ‘The Secret Flame‘, to accompany the album, much like the one ‘Twice As Tall‘ feature-artist Chris Martin contributed to in 2011, when his band, Coldplay released their own fifth studio album, ‘Mylo Xyloto’. Capitalising on his ever-doubling set of disciples, Burna is looking to other means – that aren’t tours, because those have become a no-go these days – to rake in the income from the forthcoming album. With all the attention ‘Twice As Tall’ is getting, both from within and without the camp, this album might really be Burna Boy’s best yet, and there couldn’t be a better time for this to come – for Burna Boy and for the world (which he now officially rules).

Featured Image/Burna Boy

Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju

ICYMO: HOW LADY DONLI’S COLLABORATORS ARE ENJOYING THEIR LIVES

Songs of the day: New music from Fireboy DML, Ego Ella May, burningforestboy and more

Posted on by The Native

Coping with the chaos of 2020 has taught us how to have a good time even when conditions are less than ideal. A huge part of that lesson has come from music, as artists continue to provide songs that build our optimism with their resolve to keep the party going through the pandemic and increasingly traumatic news feeds. That’s why we’ve decided to highlight the best songs released from around the continent that can add that extra pep in your steps as we go through the rest of the year.

After starting the week with new music from Dj Tunez x Wizkid, Chika, Ictooicy, Ms. Fu x Anae, Ilaye, DEELA and many more, our mid-week selection includes the latest releases from Fireboy DML, rising South African artist, Cicada, K1 De Ultimate, Vict0ny, and many more. Enjoy.

Fireboy DML – “Tattoo”

Fireboy DML is gearing up to release the follow-up to last year’s impressive debut, ‘Laughter, Tears and Goosebumps’. He announced that his new album, ‘Apollo’ will be released later this month, and has recently given us another teaser with “Tattoo”, a raunchy r&b song that teases a more explicit direction from his debut. He already won the hearts of adoring fans with his convincing vocals and charming lyrics but here, Fireboy DML aims to evoke sensual desires as he describes his sexual intentions; “My fingertips on your hips/ Finna make you say oh”. The accompanying music video directed by A Capital Dreams production heightens the songs provocative direction, with R rated scenes showing a sexual encounter between Fireboy DML and his muse.

burningforestboy – “Carpenter”

With the pandemic keeping people away from the clubs and dancefloors, we can finally give artists who make mood music for the time the appreciation they deserve. South African singer, burningforestboy just released his debut project, ‘Cicada’ and it finds him detailing relatable emotions from his romantic experiences. On the standout track, “Carpenter” we hear him laying his compelling falsetto over eerie mid-tempo production. Singing “Sweet little perfect heart/ wont you come and tear me apart”, “Carpenter” explores the theme of anguish with the same romantic filter that makes artists like The Weeknd so popular.

K1 de Ultimate – “Awade”

Though Fuji music is no longer as popular as it was in the 80s and 90s, it has stayed relevant, existing as a part of the sound that makes up contemporary afropop’s DNA. K1 De Ultimate is among the pioneers who popularised the genre with several hit songs like “Solo Makinde” and now he’s returning with a new project, ‘Fuji, The Sound’, expected to drop on the 21st of August. Ahead of the EP’s release, K1 De Ultimate released the lead single, “Awade”, introducing an updated hip-hop bounce to the Fuji sound. Having already established himself as a Fuji legend, the nostalgia of the sound is built right into the song as he praises supporters who have been with him from the start, saying “E ku ati jo”. Though his lyrics suggest he’s still addressing old fans, he stays conscious of new audiences by keeping the duration of the song to 5 minutes rather than the more lengthy stretch Fuji songs are known for. The project will also include features with contemporary artists like Teni and Mystro.

Victony – “Space and Time”

Afropop has become more fascinating since we’ve been introduced to the new generation of artists who can explore themes outside the party-serving Afropop trope. Victony joins that expressive set with his latest release, “Space and Time”, an angsty r&b song that captures a newly formed freedom from a fresh breakup. Singing “I don’t need love/ I need my space and time now” over the atmospheric production from Young Taylor, Victony seems to celebrate the end of the relationship. However, the somber guitar baseline gives the song an emo feel, which suggests that his excitement at being single, is merely a cover for his more vulnerable feelings. “Space and Time” is the first single from ‘Saturn’, Victony’s upcoming project and we’re anticipating that it will offer more context and perhaps reveal a heartbreaking story.

Ego Ella May – “Tonight I’m Drowning”

While some breakups bring relief, others hurt and leave us missing our exes even though we know the relationship is over. Ego Ella May’s latest offering, “Tonight I’m Drowning” channels post-breakup loneliness, as she sings about her struggle to move on from her ex-lover. The song featured as a standout track from her recently released EP, ‘Honey For Wounds’, which she has now updated with an accompanying music video directed by Daniel Arema. The video highlights the song’s agonising sentiment, with the dimly lit set and slow panning shots. While Ego Ella May performs her soulful vocals, singing “Missing you comes in waves/Tonight I’m drowning”, we also see instrumentalists and a sole dancer performing along with her.

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

ICYMI: Catch up on all the songs releases from earlier in the week

Listen to Fireboy DML’s sultry new single “Tattoo”

Posted on by The Native

Fireboy DML’s sophomore project ‘APOLLO’  is well on the way, and with each release, his soundscape continues to expand. As we draw closer to the release date, we’ve become more convinced that the emerging superstar has another excellent body of work on the way.

Since his first release of the year, we’ve seen Fireboy DML lean further into his romantic inclinations, whetting our appetites for what’s to come as he transports us around the world, from being serenaded in the Big Apple with “New York City Girl” to finding love in an unlikely muse in Hong Kong with “Eli” and now to the sweltering melting pot that is Lagos in his latest single “Tattoo”.

 

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my sophomore album, Apollo. out on the 20th of August.

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“Tattoo” opens with mellow acoustic strings which set the song’s sexual tone, before dipping into subtle r&b proclivities as Fireboy DML makes his carnal desires clear. As he sings, his muse in the Clarence Peters-directed video is listening, and not just through her iPhone (we see she has been listening to ‘APOLLO’) but she actually hear him through the walls on a humid day in Lagos city.

With each suggestive line, he remains soft yet commanding, drawing and enticing his muse from her apartment into his sticky embrace. On the first verse, he serenades his muse over the Type A-produced beat with quirky pick-up lines singing‘ You be running through my mind, you be Usain Bolt’ with enthusiasm. Following this, the infectious hook helms the song’s raunchy message, making reference to the title saying: ‘Make I be like tattoo for your body/When you need that bamboo just call on me’. His unrushed pace makes it impossible to miss any of his X-rated thoughts, and the more he sings about what he can offer to the ladies, the more he attracts other unsuspecting women in the apartment complex. They are in heat and wander up the stairs, directed by the sound of Fireboy’s hypnotic voice as they watch the artist and his muse green with envy.

Watch the video for “Tattoo” below.

Featured image credits/tomm_34

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

ICYMI: Fireboy DML announces sophomore album ‘APOLLO’

R&R Collective is calling on Lagos residents to recycle their old products

Posted on by The Native

Back in 2019, the Nigerian government joined 32 other countries in the fight against plastic when it officially banned the use of plastic bags in supermarkets nationwide in line with efforts to manage and control the amount of plastic used by its citizens. A year later and still nothing has been done about this now dormant legislation, as the country is constantly ridden with flooded roads, submerged housing areas, and uncontrollable litter.

As the effects of global warming become more threatening (we could be wiped out in a few years if practices don’t change), it has become increasingly important to focus our efforts on alleviating the effects of climate change in our daily lives; whether this is by becoming a more intentional fashion consumer and stopping the purchase of fast fashion, or recycling products like plastic that are harmful to our environment.

 

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Enter R&R Collective, founded by Tobi Kolawole-Olutade who are on a mission to making recycling a thing among us. The brand has become popular for its crafty use of sweet and confectionery wrapper from our childhoods such as Tom-Tom and Strawberry Splash to create unique pieces of jewellery which enhance cultural conversations on waste through food culture.

In a bid to do more for residents of Lagos, Nigeria, R&R Collective are now calling for people to positively tackle and enhance sustainable living right from the comfort of their homes. A recycling database has been created, and all Lagos residents need to do is register their interest here and begin recycling their old sweet wrappers, bottle caps, food packs, buttons, and much more. To make it a fun exercise, the brand has also set up a point system that will award points in exchange for waste collections which will then attract a variety of rewards.

This is a great opportunity to lend your contributions to a worthy cause and make your personal environment a bit more sustainable. For more information on the recycling process, please check here and register your interest here.

Featured image credits/animator_debz

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

ICYMI: AMKMQ unveils her collection ‘Say What You Mean’

The increasing allure of non-conformity in Nigerian music

Posted on by The Native

In the infant stages of their careers, artists are all about proving they’re worth the attention. For the ones who come in instantly seeking huge fortunes and fame, they have to prove market readiness from the jump; while those who start off using music as an innocent mode for expression, have to prove their artistic chops, or potential at the very least, to the people who are tapped in early. Irrespective of the motive behind choosing to make music for public consumption, no new artist wants to envision their music landing on deaf ears in the long run, and it’s within this spectrum that the initial idea of success starts to form.

Varying from one artist to the next, success is a relative concept in music, but more often than not, it’s tied to commercial gain. On a purely ideological level, there’s something special about music as an art form, however, in reality, everything is subject to the forces of capitalism, and music is not excluded. Adhering to the laws of supply and demand or cost and profit, music is a commodity subject to several factors beyond sheer creativity.

Within this complicated framework, artists have to match their music with commercial strategies in order to be successful, or have a sustainable career at least. For example, homogeneity was largely the name of the game in Nigerian music from the late ‘90s to a significant portion of the last decade, especially in terms of the audience artists can and are expected to appeal to. In that period, where physical copies were the primary mode of music consumption, media outlets such as radio and TV stations not only indicated, but actually dictated who and what was hot. As a result, artists were always vying for the attention of the same wide audience, which inevitably affected how they approached making music.

In its ongoing 20-plus year run, modern Nigerian pop music has been driven forward by a long list of unique and inventive creatives who put out truly outstanding and definitive albums/songs. At the same time, it has also been defined by a constant proliferation of whatever sound is prevalent at any given time, a recurring practice in pop music that is not inherently bad, necessarily, but merely reflective of how the space works (or perhaps, now, worked).

Back in the CD days, and most of the blogging/online piracy era, it wasn’t impossible for artists who were making extra-mainstream music to build a niche, dedicated audience, but it was quite difficult since everyone went through the same promotional channels, seeking the same ears. Because of this, it was almost always either go big or go bust for “alternative” artists, and the proportion wasn’t exactly even. For every enigmatic success like Asa, there were several artists like, say, Silver Saddih and Jeremiah Gyang, who didn’t get close to hitting those heights. To help their chances, some ended up co-opting or downright switching up to more “marketable” styles (Skales, Iyanya, Chuddy K, to name a few), a reactionary move which was – and some ways still is- representative of how artists swapped uniqueness for conformity in order to attain success, or sustainability.

In the last few years, however, the post-digital era has merged the double effect of social media and music streaming, which has resulted in diversity increasingly replacing homogeneity as the name of the game. It may now be a trite narrative that social media and streaming greatly improved access on both sides of the aisles – for artists, who are looking to build an organic core of reliable supporters, and for listeners, who want more than what mass media dictates – but it will forever be refreshing and noteworthy that these two forces have played such a huge role in emphasising creative autonomy.

It would be disingenuous to insinuate that these developments have made it entirely easy though, but the fact still remains that artists now have more malleable tools at their disposal. Using these tools, they can start proving themselves to the audience they hope to attract, while delivering exactly the kind of music they want to make.

The breakout trajectories of Tiwa Savage and Tems, for example, perfectly illustrate the shift in attitude arising from the confluence of social media and music streaming. Tiwa Savage broke out early last decade with smash hits, “Kele Kele Love” and “Love Me 3X”, both power-pop songs which had instant mainstream appeal and went on to become club hits and local radio rotation favourites. Off the back of those, Savage bagged a signing to Don Jazzy’s Mavin records, scoring a succession of mainstream hits on her way to becoming one of the biggest Nigerian artists around.

This is stark contrast to Tems’ breakout. The magnanimous singer came into widespread popularity last summer with “Try Me”, an emotionally charged and resonant song which wouldn’t immediately be considered a mainstream hit, by most standards. At the moment, Tems’ undeniable talent already forecasts a career on the way to the highest pinnacle possible, but she’s made it clear that she won’t ever be looking to re-make “Try Me”; while that doesn’t rule out making music that co-opts more popular sounds, it certainly does mean she’ll be sticking with her creative guns.

“I can never make a song like “Try Me” again,” Tems proclaimed in her issue 004 cover story with us. “I’m not worried, this is a positive thing for me. Now I know that my message will be heard by all the people who liked “Try Me” no matter what I’m saying.” Tems’ conviction shows that she’s not willing to pander or conform – and in the current climate, she doesn’t have to in the same way she might have had to 10 years ago.

Tems’ mindset isn’t entirely alien to Nigerian music. Looking at it wholesomely, Tems is playing her part in a period where the amorphous nature of contemporary Afropop is being expanded and emphasised by its fast-rising superstars. Last year, for example, saw the explosion of Rema, an artist whose multitudinal musical appetite embodies the industry’s growing diversity, and who has made it a point to note that, despite adjusting some of his output for the wider market, he’s expressing himself exactly how he wants. Continuing to show himself as an artist who will not be pigeonholed, this year, Rema has put three disparately sounding songs: the slow and sultry “Ginger Me”, the zoinked out “Alien”, and he even explored Amapiano on one of the biggest songs of the year so far, “Woman”.

This same flair for exhibiting uniqueness is part of what has made Omah Lay Nigeria’s breakout success of this year. The Port Harcourt-raised singer/producer broke into the mainstream with “You” and quickly began to garner attention, however, his debut EP, ‘Get LayD’, forced everyone to sit up and take notice of his superstar potential, and is currently a streaming behemoth. Within the 5-song project (four in the top 20 of Apple Music Nigeria’s 100 most played songs and all five in Audiomack’s equivalent), Omah Lay displays varying dimensions of his abilities as an artists, from inflecting the damaged, bad boy tropes of contemporary r&b into “Damn” to spinning catchy, repetitive hooks on the party ready “Lo Lo”.

As integral as musical diversity and being unique is to their trajectory, it is important to note that Rema and Omah Lay have been positioned to maximise their reach through label support and strong promotions across traditional and streaming channels. While they are proof that Nigerian artists now exist within a space that affords both uniqueness and success at the same time – artists can thrive without conforming – Omah Lay and Rema are also examples of the cost-intensive nature of wanting to reach a massive audience.

The truth is, every artist would like to turn their life into “a nice first week release date,” healthy streaming numbers and sold-out shows, but blowing up is increasingly becoming a relative concept, especially to those who put a premium on making music how they want and don’t necessarily have a deep chest of resources. Years ago, artists would conform in order to adapt to the unpredictable tastes of the general audience; now, artists can play to the diversity of those tastes without sacrificing what makes them unique, scaling their ambition and profitability according to their core audience and its continued growth.

It’s already been established that we’re experiencing the dominance of a new vanguard in Nigerian music, and a defining element of this set is the dedication to a ground game that involves a core base of listeners. Unlike previous generations where artists aiming for prominence and profitability had to try and appeal to everyone, this new set of acts start by finding listeners who identify with them and their music, and go on to build from there. This ideal has given artists more leeway to work their way into their own definition of success and expanded the scope of what it means to be a star.

In May, Odunsi (The Engine) surprise released his latest project, ‘EVERYTHING YOU HEARD IS TRUE’, and for a hot minute, it commanded a high level of attention on the timeline. While it’s an indicator of the artist’s growing yet undeniable star power, the enthusiastic reception is truly remarkable because Odunsi delivered a project that isn’t beholden to any of his previous works. Mashing psychedelic pop and trap with an experimental edge, the 7-song set doesn’t typify the modish sound of Nigerian pop music, yet the impact is undeniable – it’s avant-garde but it’s not averse to commercial success.

In the Nigerian context, Odunsi isn’t really as ubiquitous as the likes of Rema and Omah Lay, whose music dominates mainstream plays, but the immediate aftermath of the release of ‘EYHIT’ reinforces that more artists can finagle success while following the coordinates of their creative compass. Sure, there will always be a prevalent sound that holds sway over large sections of the public, and artists who make those kinds of music will hold command of a larger audience. However, those who operate on the more outré side of the spectrum can also command their own dedicated audience which will likely grow as the artist evolves and develops a reputation for making music that’s not bound to what’s hot.

Another perfect example of playing and wining by your rules is Show Dem Camp, the veteran rap duo who have become the epitome of finding continued success without pandering to mainstream. On the back of their ‘Palmwine Music’ series, SDC have hosted mid-size headlining concerts in Lagos (roughly averaging 2,000 attendees each time) for three years in a row, and they’ve continued to maintain their rap credibility as premium lyricists through their ‘Clone Wars’ projects. In their own way, Tec and Ghost are in the best of both worlds, holding commercial appeal and critical acclaim without sacrificing an ounce of authenticity.

SDC’s model is not the stock type that can simply be replicated by any and every artist, but it speaks to the myriad of possibilities for artists who want to do things their own way without the immediate pressure of being the biggest out. In far more developed spaces where more listeners and concerned stakeholders recognise the full scope of music being put out, artists who don’t fully operate in the mainstream have the ability to command a sizeable following on which they can build illustrious and respected careers.

With artists like Tems, Odunsi, Show Dem Camp, and more proving that being full-on mainstream isn’t the only viable means towards success and sustainability, it seems inevitable that the combination of artistic autonomy and organic profitability will no longer be novel—it will be the norm. And with their growing successes the allure of non-conformity is only getting stronger.

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

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

Jackie Aina set to executive produce beauty documentary, ‘Social Beauty’

Posted on by The Native

Following the death of George Floyd in late May this year, the black community rallied together to protest the persisting racism which remains terrifyingly prevalent in American (and frankly, global) society today. Whilst some took to the streets with signs and chants, others fought the anti-racism battle by setting up and contributing to funds to help the families of victims of police brutality or arrested protesters, and petitions for justice.

One way of ensuring these petitions, funds and the general outcry and collective demand for reform garners the attention needed is for everyone to use their platform to amplify these causes – both individuals and companies and brands. This is what Jackie Aina continues to do with her platform, and what she demanded, back in May, of Fashion Nova, Pretty Little Thing and Revolve –notoriously ethically corrupt fast-fashion brands “who love capitalising on black culture, black music, black aesthetic but are dead silent when it comes to talking about black issues and black struggles in our community” Aina said in her Instagram story calling them out for their inaction.

Jackie Aina is an excellent example of an influencer who is using their voice beyond the particular industry in which they work to enact change in society. Not only has she been instrumental in reshaping the beauty industry to be more inclusive of black women, but she consistently uses her social currency in order to amplify the voices of black people, and that is what her latest project, ‘Social Beauty‘ – which she will executively produce – is all about.

Co- produced by actress, Andrea Lewis (‘Degrassi: The Next Generation‘)  and Under FaceFoward Productions’ Takara Joseph and CJ Faison (‘Giants’) ‘Social Beauty’ is directed by independent filmmaker, Kwanza Nicole Gooden. Jackie Aina will not only executive produce this feature-length doc, but will also star in the film, joined by Nyma Tang, Alissa Ashey, Nyma Cydnee Black, Whitney White and  Shalom Blac. With contributions from other brands, beauty journalists and more, ‘Social Beauty‘ will highlight how these popular and powerful influencers came into the beauty industry and shook things up with their raging success. 

In 2017, Rihanna gave the beauty industry a stern warning to act right, when she launched her 40-shades of Fenty Beauty ProFilt’r Foundation, accompanied by a diverse and inclusive range of contour, highlight and concealer MatchStix. Scrambling to keep up with this new industry standard, brands such as Dior and CoverGirl matched Fenty’s forty, and the global beauty industry has since seen increasing diversity – even though we are far from beauty being fair and equal for black people.

Dubbed the Fenty Effect, this shift in the beauty industry is very well-documented, however, the work that black beauty influencers have done has been less so. The likes of Jackie Aina, Alissa Ashley, Patricia Bright and even renowned make-up artist turned beauty mogul, Pat McGrath have been key in diversifying the beauty industry, despite the rampant racism they face. Before these influencers and popular MUAs, the struggle to find makeup products was universal for black people, and seeking reviews to point us in the right direction involved deep investigations.

For Andrea Lewis, who created this documentary, the lack of black representation in the beauty industry affected her professionally, as she was forced to fend for herself (or risk looking ashy). She says:

 “I grew up on TV and film sets learning how to do my own hair and makeup because there weren’t available beauty products that worked for me. These Black beauty influencers have led the charge in pointing out the lack of diversity in the beauty industry and inspiring more inclusion for women of colour.”

Rectifying the white-dominated space and ensuring that black women are represented beyond just our disproportionate spending habits (because we spend so much more trying to find the right products), we’re very excited to see the work and success of black beauty influencers documented and celebrated on the big screen.

“I’m so excited to be a part of something that shows our impact as black women in beauty” says Jackie Aina to The Hollywood Reporter.

“I hope through this project people will see that so many of us are passionate, multifaceted, and more than what you see outwardly. It is an honour being a part of a community that encourages so many of us to believe in ourselves and to look and feel beautiful even when often times the media encourages otherwise.”

Image Credits/The Hollywood Reporter

Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju

ICYMI: THE RISE OF INFLUENCER CULTURE IN NIGERIA

Best New Music: Ilaye’s “Fix” captures the warmth of reassurance

Posted on by The Native

Modern-day relationships are a minefield of complications, and even when you skip through the savage conditions to find someone who’s worth it, the fear of impermanence is what threatens to unravel things. Anyone who has been in a healthy, worthwhile relationship, knows the integral role verbal reassurance plays, as it serves as a constant reminder of the affection, convey a willingness to consistently commit, and validate the other person’s feelings when they are exchanged.

On her first single of the year, “Fix”, our Fresh Meat pick last month, Ilaye captures the warmth of reassuring of someone about your love for them, and always wanting to be with them. There’s a common saying that actions speak louder than words, and as much as actions are highly prized in relationships, words carry their own weight as well. This is something Ilaye illustrates in her new song, using the lived-in, first-person approach she’s increasingly masters in her impressive catalogue.

While we’ve heard a lot of what she’s saying on “Fix” before, the masterstroke is in how Ilaye’s writing communicates these blue-eyed feelings without making it sound like mindless devotion – a balance that sometimes eludes romantic afropop songs by women. “Some days I miss you so much, it hurts when I take a breath/If I ever broke your trust, don’t think I could ever forgive myself,” she sings on the first, embracing trusted tropes singers have used in expressing how much a romantic partner means.

What she doesn’t do is romanticise the idea of unconditional love, acknowledging the fact that you can only truly reassure someone who is equally present and committed. On the chorus, Ilaye sings, “Just hold my love tight, just hold my love right,” matching her own willingness with a desire for reciprocity. In its resonant way, “Fix” speaks to the interiority of relationships and how the two people involved are the main determinants of how hot the flame keeps burning.

On “Fix”, Ilaye works with frequent collaborator and fellow NATIVE Fresh Meat alum, Sir Bastien, and the outcome is proof of their near-telepathic synergy. Treading together major key piano chords, submerged bass guitar riff, sweeping strings and languid percussion, Sir Bastien provides a bright, yet measured soundscape for Ilaye’s radiant voice to glow, echoing the honesty in every line and emphasising the delicateness of her melody.

In a brilliant sonic twist, a bouncy 808 bass drops mid-way through the second verse, and Ilaye contracts her cadence into a slinky rap-sung melody without disrupting the song’s flow. This brief contemporary r&b switch is the closest Ilaye has come to co-opting modish trends, resulting in one of her more accessible and catchy songs.

“Fix” continues to expand Ilaye’s potential range, and it’s also plainly one of the most interesting love songs from this year.

Listen to “Fix” here.

Featured Image Credits: Instagram/Ilayemusic

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

ICYMI: SOLIS’ ‘RULED BY VENUS, UNFORTUNATELY’ WAS OUR PREVIOUS BEST NEW MUSIC PICK

Fireboy DML announces sophomore album, ‘Apollo’

Posted on by The Native

Fireboy DML’s debut album, ‘Laughter, Tears & Goosebumps’, catapulted the singer from breakout star to emergent superstar. In a year where his smash hit, “Jealous”, was everywhere from clubs to the radio, and the follow-up single, “King”, became an instant fan favourite, Fireboy capitalised on the promise he’d shown, delivering a diverse sounding 13-track album that pushed him into a higher level of reverence amongst afropop’s relatively new class of talented superstars.

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“jah eli jah!” — ELI out on all platforms 🚀

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Last month, when the NATIVE caught up with Fireboy, he made it clear that he’s working on levelling up and already had his sophomore album pretty much ready. “I think it’s ready…I need this album to seal it,” he told us, indicating that he understands the pressure he’s walking into with a sophomore album just nine months after his seismic debut. Now ready to drop, Fireboy officially announced ‘APOLLO’ as the title of his upcoming album over the weekend.

In the short video announcing the album, there’s a caption that goes, “the debut was a dream. I showed you ‘Damola, you saw perfection – so how human am I to think myself, a god?” On an album where he’s looking to elevating even higher, it’s an interesting tag line, considering that Apollo is the Greek god of music and poetry. ‘APOLLO’ will be supported by the previously released single, “New York City Girl” and “Eli”, and it is slated to drop later this month, on August 20th.

Check out the announcement here.

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

ICYMI: FIREBOY’S “ELI” & THE DIFFERENCE BETWEEN CULTURAL APPROPRIATION AND APPRECIATION

Songs of the Day: new music from Wizkid, Chika, Fireboy, DEELA and more

Posted on by The Native

Music is one of the few constants that we have in the world today, as we’re increasingly seeing more artists from around the continent roll out their new singles and projects, in an effort to make these unprecedented times a little less difficult. Whether it’s upbeat music that’ll have you bopping your head constantly or mellow music to wind down to, we’ve got you covered. That’s why we’ve decided to help curate a list of the best new music from all around the continent that is sure to give you the much-needed detox from social media.

Our weekend curation included new music from Tiwa Savage, again, Yemi Alade, a collaboration between BOJ, Davido, and Mr. Eazi, and much more. To start off the new week, we’ve got a new selection from Dj Tunez x Wizkid, Chika, Ictooicy, Ms. Fu x Anae, Ilaye, DEELA and many more. You’re welcome. Enjoy.

Dj Tunez – “Cool Me Down” featuring Wizkid

I think I speak for all of us when I say that the wait for Wizkid’s ‘Made in Lagos’ has been brutal. While we’re all nursing our trust issues for everyone’s favourite Starboy, we have Dj Tunez to thank for a new Wizkid feature primed to keep us satisfied as we wait for his most anticipated project till date. “Cool Me Down” is a bouncy, catchy track, which sees Wizkid in his usual element – toasting all the pretty girls at the party, which is exactly what we see him doing in the Earthboi-directed video.

Cracker Mallo – “Wickedest Wyne” featuring Fireboy DML

It’s definitely Fireboy DML season and producer, Cracker Mallo knows this all too well as he enlists the budding star for his latest single, “Wickedest Wyne”. Ahead of the release of his project ‘A Friendly Introduction to Sound’, Cracker Mallo shares a new single to whet our appetites for what’s to come and we’re definitely intrigued so far. Atop swelling and shimmery harmonies, Fireboy sings: ‘I don’t want to love nobody else but you’, addressing the beauty and allure of the muse he sings about.

CHIKA – “U Should”

Nigerian-American rapper, Chika has just released “U Should”, her first release since her 7-song debut project ‘Industry Games’ released last year. For “U Should”, she shows off more of her softer, mellow side where she soundtracks the all-consuming feeling of having a new crush. ‘I’ve been watching you across the room, I wanna dance/Baby you’re so damn fine’ she sings amorously before switching the mellow lyrics for sharp, clear raps that sees her celebrating the beauty and irresistible allure of her muse. Looking for more LGBTQ+ artists to get into? Chika is the girl for you.

Dj Lambo – “Bella” featuring Lady Donli & Iyanya

Ahead of the release of her debut project ‘A Tale of Two Cities’ on August 21st, Chocolate City’s Dj Lambo has just released a new single, “Bella” featuring Lady Donli and Iyanya. The catchy upbeat track is a radio-ready hit with its infectious drum patterns, jingles, and memorable lyrics. This song will surely get you dancing around the house this week, with sweet lyrics to match Afropop’s fixation with romance.

Blac Cousins (Ms Fu x Anae) – “Closure”

Two of Ghana’s finest, Ms Fu and Anae have come together to form a music collective now called Blac Cousins, and they’ve made this official with the release of their debut project ‘Pillow Talk’. The 11-track EP which delves into themes of love, loss, growth, and more, is heavily detailed with their mental process while recording the project, as they have included a commentary to accompany each song off the EP.

One of the project’s standouts is the breakup ballad “Closure” and as the title suggests, both artists muse about the romantic inefficiency of dating men, communication, and what leads to the eventual death of romantic relationships. ‘It’s like we need more conversation/Excuses got me blowing up your phone’ raps Anae on the second verse, who pleads with a past lover to meet her halfway in mending their relationship but not at the extent of compromising herself. Throughout the mellow piano-led number, both artists remind us to be strong in our choices, no matter what.

DEELA – “The Game”

Luckily for me after I listened to the music, the question on my lips over the weekend was ‘who is Deela and where has she been all my life?’. Armed with a voice that demands you to stop and listen when she spits, DEELA delivered a succinct and clever introduction to her world through the release of her self-titled debut, that she describes as being created ‘for fun’. If her single “The Game” shows anything, it’s that DEELA’s pen game is anything but ‘just for fun’.

‘Not my fault you can’t play the game/Ew you ain’t worthy of my hit list/when I walk give him big chills’ she raps, taking full command of the drubbing beat and riding it effortlessly as each line she delivers quotable punchlines that are sure to feature on Instagram captions soon. It’s not every day someone exciting comes into the game like this, so we’re fully stanning DEELA from here on, and you should too.

Yanó Rude – “Unconscious”

Atlanta-based Gambian artist, Yanó Rude has just released his debut single “Unconcious” ahead of the release of his debut project ‘Kalashion’ which is slated for an August 27 release date. He successfully soundtracks the feelings of uncertainty in new romantic relationships and shares with the NATIVE that “The feelings surrounding this record was recognizing the conflict of interest and how problems become a slippery slope in the absence of communication,” Yanó explains, “the tempo and catchiness mixed with the afropop elements makes it an unorthodox tune that I’m cool with,”. 

Featured image credits/Instagram

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

ICYMI: Here’s all the new music from last Friday