It can be hard to keep up with the rapid pace of events unfolding during the lockdown. With each passing month, the lack of regular social breaks from the harrowing news cycle has made it overwhelming to continuously consume a landslide of new information. With collective efforts to stay indoors and curtail further spread of the virus still ongoing, we’ve decided to help curate a list of the best new music from all over the continent that is sure to give you the much-needed detox from social media.
Our weekend selection included new releases from Ghanaian rapper, EL Lomi featuring Falz, DJ Tunez x Wizkid, Bey T, WurlD and Sarz, Sammie Ca$h, and more. To start the new week, we’re bringing you a new Davido collaboration with Snakehips, Jess Glynne, and A Boogie wit Da Hoodie, as well as, new releases from May D, Sinäi, Ona Dema and Dremo, CDQ, Wande and more. Enjoy.
Snakehips & Jess Glynne – “Lie For You” featuring Davido and A Boogie Wit Da Hoodie
One of the most admirable qualities when in love is being able to lay your personal interests aside for the person you love, and come through for them in exceeding ways, whether that involves having to lie for them, or at the very worst, take a bullet for them.
In their latest release “Lie for You”, British electronic music duo, Snakehips teams up with singer, Jess Glynne, rapper, A Boogie wit Da Hoodie and one of our very own, Davido for a mid-tempo romantic number that encapsulates the feeling of selflessly loving someone through it all. Bringing his unique take to the song, Davido opens up by expressing how deeply he feels for his muse. His verse is filled with praises for her, staying true to his brand using Nigerian colloquialisms, ‘Baby I wanna see you bend o/I know you no say you be 10 o’.
May D – “Lowo Lowo Remix” featuring Davido
After the release of the song’s original version last month, DMW singer May D is back with the remix to his single “Lowo Lowo” which features a guest verse from label-mate and founder, Davido. No other Nigerian artist does luxury like Davido (and he’s put his 30BG gang onto the same lifestyle) who is usually dragged on social media for his wealthy family associations. However for “Lowo Lowo Remix”, what he was mocked for becomes the very reason to celebrate and be happy as Davido sings ‘My papa don dey spend money since 1964/ enjoyment is my brother’, over the song’s mid-tempo beat. Love him or hate him, Davido is enjoying with his hard-earned 30 billion, regardless.
Ona Dema – “No Time” featuring Dremo
For her first offering since signing to Sony Music West Africa earlier this year, upcoming singer Ona Dema recruits rapper/singer, Dremo for a mid-tempo number titled “No Time”. Over a frenzy of percussions, afropop drums, and acoustic strings produced by Styno, Ona Dema sings about the effect that her muse has on her.
‘Your body dey make me craze/Your body dey make me wan dey misbehave’ she sings, boldly stating her sexual desires as she exclaims that there is no time to waste not enjoying each other’s physical embrace. Dremo joins her on the second verse, rapping in a mix of English and Yoruba, as he also makes known his carnal desires, stating that there’s no need to be patient as time is money.
Tochee – “Toxic”
We’ve all been in relationships or friendships where we realised a little too late that we were not being loved the way we wanted and no matter how many times we went back, the other party was unwilling to change. For her debut single “Toxic”, British-Nigerian singer Tochee sums up this feeling perfectly as she expresses her distaste for a toxic ex who left her worse off than he met her. ‘I ain’t toxic I’m just trying to make you feel part of my pain/It’s 2020 I ain’t taking your shit’ she sings, sending out honey-toned kiss-offs that show she’s past the bullshit. As she rightly says she’s a bad bitch who’s turned a new leave – you wouldn’t want to be her unlucky ex.
Sinäi – “Run it Out”
Sinäi’s first single of the year “Run it Out” is a fun, playful introduction to a talented singer ready to go the mile in proving she’s worth all the hype. ‘Best make way for the new chick’ she sings, opening the song with a confident, self-assured tone that instantly piques our interest. Over catchy afropop drums, Sinäi sings about her Christian faith which propels her to keep pushing to achieve her dreams and backs it up with impressive lyrics that have you bopping your head. This is definitely an artist that has a lot more to say.
Wande – “Come my Way” featuring Teni and Toyé
Nigerian-American Christian singer, Wande is back with a new single titled “Come My Way” which features Teni and rising artist, Toyé. Over the infectious beat produced by Grammy-Award winning producer Ace Harris, all three artists sing about the immense blessings that seem to come their way after prayer to God. ‘Everyday saying my prayer/every night counting my mulla’ sings Teni stressing the importance of a relationship with God in order to enjoy the bountiful favour in one’s life.
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.
“Pressure” – Koffee
It’s been four months since the coronavirus-induced lockdowns and we’re a long way from normal; these days if we’re not fighting for the voices and experiences of black women to be heard, we’re contemplating existential doom because we might all potentially be cake under all the exterior. The pressure can get insurmountable and as such, many members of our community have been looking to music and entertainment as a means to ground them in something safe and familiar.
Koffee’s latest single “Pressure” is one of those songs which aims to offer you comfort and support during these difficult times as it’s guaranteed to have you dancing through your current issues. The optimistic reggae number goes: ‘When the pressure erupt, me never give up/Me a send a prayer fi the better living’ she sings enthusiastically over the drum-led beat, reminding listeners that no matter how bad things seem at the moment, faith in God is the key to finding peace amidst the chaos.
The events of 2020 have made this song an even more enjoyable listening experience, as the message is more relevant than ever. Although we may be feeling the pressure from weeks of demanding more for the marginalised in our society, we need renewed strength to continue as the battle is far from over.
“How To Act” – Trill Xoe featuring Psycho YP and Alpha Ojini
After a two year hiatus, Trill Xoe, producer with the 44DB collective, is back with his first official single of the year, a fast-paced confident number, “How to Act”, greatly bolstered by features from rappers, Psycho YP and Alpha Ojini.
Over the catchy mixture of keys, lasers and synths, Psycho YP and Alpha Ojini exchange braggadocios raps about their position as top tier rappers in the game. It’s a known fact that any beat Psycho YP touches, he decimates, and “How to Act” is no exception as he shows off more of his impeccable flow and enviable penmanship. “I stand tall on the money/I told my mama chill I be the boss” he raps, clearly having fun on the beat as he establishes his laser precision and breakneck delivery. YP’s take is complemented by Alpha Ojini on the second verse, who oscillates between rapping about a love interest and focusing on the music and the money.
“Shy” – Una Rams
Approaching someone you’re attracted to is something of a delicate endeavour. You want to come across as confident, but at the same you have to be aware enough to ensure those advances aren’t making the person uncomfortable or, as Una Rams puts it, “Shy”. On “Shy”, the newly released single from the South African singer’s coming EP ‘Crush’, Yna Rams doesn’t dissect the tension of advances as much as he exemplifies how to navigate, culminating in quite the precious song about hitting on a woman.
“How you not famous? ‘Cos your smile is contagious”, he sings at the top of the first verse, an example of the several corny come-ons that ultimately sound charming with the help of memorable melodies that communicate the playful immediacy of his desires. Even though the song progresses towards a positive reception of his advances, “Shy” takes the autonomy of the love interest into account, seeking reciprocity in a way that acknowledges there’s room for rejection. Add C-Tea’s seductive and catchy backdrop, where a horn motif is slathered over a mid-tempo bounce, “Shy” also doubles as a delectable song that will have you reaching for the replay button.
“Desperado” – toni dada x Tomi Obanure
A year after debuting his only 2019 drop, the Zarion Uti-assisted “Candy”, toni dada recently made a return with “Desperado”, the lead single to his newly released, self-titled debut EP. Dedicated to the rockstar life he’s been seemingly living, “Desperado” is a breezy, feel-good song that celebrates the exuberance of sipping champagne and being around many beautiful women who all want a piece of him.
Armed with a groovy afro-Caribbean beat, toni’s nasally vocals and fuji-indebted production brings a carefree allure to the song’s central conceit—“my lifestyle kinda wild”. He’s joined by Tomi Obanure, who delivers a scorching rap verse in the middle of the song, where he renders a gripping account of his sexual exploits and his night time activities painting Nigeria’s capital city red with his squad. Together, the pair depict an alluring and infinitely replayable picture of living fast and in the moment.
“Be Mo” – Tena Tenpo
Flying onto the radar as an affiliate of the dangerous new collective, the Chop Life Crew, Tena Tenpo is a glaring talent, whose latest release proves so indubitably. Compiled into the ‘Pre Szn’ singles package, over the weekend Tena Tempo emerged with three new singles, the first featuring Mojo and Fasina, the second featuring Kayzee, leaving the final track standing out as the solo only number, “Be Mo”.
Atop a lively beat produced by Yazid XO, Tena’s “Be Mo” is a narration of his infatuation with a particular Ambassador of Enjoyment. Playing the role of Tena’s muse, Her Excellency’s language is rose bouquets, summer trips to new locations, and a big budget for her lifestyle – and she’s worth it, because, in Tena’s magnificent words her “pussy like corona everyday new cases”.
Just as Tena Tenpo can’t get enough time in bed with this girl, I cannot get enough of his wordplay. Besides the flagrant yet absurdly brilliant COVID-19 reference, Tena’s lyrical dexterity shines especially on his catchy hook, where he plays on Nigerian names and similar sounding Yoruba words; for example, he wittily toys with his own moniker to assert his star potential: “ni sin bai, (mo ni) Tena lo ni tenure” (“here right now, (I’m telling you) Tena’s got the tenure”).
It’s profound. It’s prophetic. It’s a hit.
Chop Life Crew – “Fakogbe” Feat. Tim Lyre and MOJO
Our first introduction to the Chop Life Crew, “Chop Life Crew” featuring Prettyboy DO, portrayed the collective as a gang of party ravers. MOJO’s boastful rap bars gave the impression of an intimidating set but after getting acquainted with the other members, Tim Lyre, Masun Masiano, L.K, Tena Tenpo and producers Bigbadcubix and Ronehi, we’ve come to understand that the threat is perhaps more in their talent than in violent tendency.
The latest single from the collective, “Fakogbe” highlights their tender intentions as Tim Lyre and MOJO confess their intimate feelings for their love interests and shower them with praises. Over the lightweight Afropop instrumentals produced by Ronehi, Tim Lyre and MOJO deliver a verse each, describing the attractive qualities of their muse before promising all the things they’d do to show their appreciation for their beauty.
With lyrics like “E no go end in tears/ omo this one na happy ending”, MOJO shows off the mushy side we rarely see. Though he has always had an impressive command of English and Yoruba, on “Fakogbe” he and Tim Lyre mostly perform in Yoruba while the English words only filter in occasionally. Not a lot of people represent the culture as convincingly as the Chop Life Crew does.
Crayon – “Sometime”
After getting unveiled as a Mavin artist in 2019, expectations were high for Crayon to deliver quality music worthy of the label’s reputation. He didn’t disappoint with his debut tape, ‘Cray Cray’, which earned him regular spots on playlists and DJ sets at clubs. Though he recently celebrated the project’s milestone of amassing over 10 million streams across all platforms, he has also kept up the standard on subsequent releases and his latest, “Sometime” explores the familiar theme of dance floor romance.
Backed by expert production from London, “Sometime” is primed for the dance club as Spanish guitar riffs are mixed with synth harmonies, horn samples and upbeat drums to create a catchy backdrop for Crayon’s romantic lyrics. Singing “Tonight is your night oh/ E go better if you crash for my place oh”, Crayon’s lyrics set the scene at a night club with an impressive dancer as his muse. The whole song plays out as a ploy to convince her to go home with him. And though we don’t get to hear his muse’s reaction to his advances, the feel-good groove makes it hard to imagine anyone saying no. Regardless, “Sometime” is a bop and we can’t wait till the lockdown is lifted so we can dance to the music in the club and maybe borrow a page from Crayon’s playbook.
Last year July, a distressing video depicting the unwarranted attack of a woman, Ms Osimibibra Warmate, in a store located in Banex Plaza, Abuja circulated the internet. The perpetrator was recently the elected Senator Elisha Abbo, representative of the Adamawa North Senatorial District under the Peoples Democratic Party.
In the video, we saw Senator Abbo unleash onto Ms Warmate, in the presence of two male police officers, because she was defending her friend, Kemi, from the violent customer. Brought there to harass the store owner, the police men, sworn to uphold the law and protect Nigerian citizens, did nothing in the face of this injustice. Thankfully, after the social media outcry – although Ms Warmate had already reported the May 11 incident at the time it happened – Senator Abbo turned himself in, and charges were brought against him on July 8.
Then came today’s update on the case. Last month, on June 28, Senator Abbo’s case concluded. The verdict? None. The case was dismissed.
Black women are so unprotected & we hold so many things in to protect the feelings of others w/o considering our own. It might be funny to y’all on the internet and just another messy topic for you to talk about but this is my real life and I’m real life hurt and traumatized.
If you’ve been paying attention to social media these past few weeks, you’d easily have picked up on something quite disturbing on your timeline. From the casual attitudes towards the physical harm of black women to the targeted harassment and vitriol they are subjected to online, women are constantly being stripped of their humanity as they are afforded a lesser level of care and empathy than their male counterparts.
Last week, we learnt that rapper, Megan Thee Stallion was involved in a shooting where she suffered gunshot wounds to both her feet following an altercation at a party in Los Angeles with rapper, Tory Lanez. While many, including myself and the hotties, were worried about the rapper’s safety, social media was rife with insensitive comments and jokes regarding the shooting, all conspicuously rooted in misogyny and transphobia. Like clockwork, while a black woman was in pain, jokes surfaced online about a lover’s spat between thee Stallion and Tory Lanez, with grown men and women flagrantly justifying the shooting as fair game, because we’ve come to glamourise abuse in romantic relationships thanks to regular consumption of. problematic entertainment like Netflix’s ‘You’ or the eons of misogynistic music.
These casual attitudes towards the harm of women, especially black women, are not new to any of us as we’ve seen countless times society’s track record with handling similar cases. It’s why news of women dying at the hands of their abusive partners are met with no concern because we have justified abuse as being ancillary to romantic love. While the rumours and speculations detract from the actual harm that has been done to this woman, it has exposed the dark truths that women have been saying for years: that society is unable to reconcile the gravity of the violence when it comes to women’s issues and we failed to protect a black woman the moment we trivalised Megan’s case.
Here, in Nigeria, attitudes are pretty much the same. However that is no surprise, given that our society is inherently misogynistic, and our history has always had a way of silencing powerful and dynamic women amongst the fold. Growing up, we learnt with horror how brave women along the years had been silenced, slut-shamed, harmed, or even worse, killed. We’ve all heard the phrases like ‘well-behaved women seldom make history’ and that is particularly the case in the life of late Mrs. Funmilayo Ransom-Kuti who met her fate after she was flung out of a second storey building and later died as a result of complications from her sustained injuries. The reason for this horrendous attack – that resulted in her death – was the sinister desire to silence Mrs Ransom-Kuti, a strong woman determined to speak up against injustices that women faced.
Today, the playing field is no different as women are still being purposely harmed and attacked simply for wanting better for themselves and other women, particularly those who take on these very public roles of advocating for sex and gender-based injustices. There is undoubtedly an epidemic regarding these specific injustices, as official data shows that 1 in 4 Nigerian girls are victims of sexual violence before they turn 18. During this global health crisis alone, we’ve lost the lives of many Nigerian women to rape and many survivors have also used social media as a medium to offload their trauma and demand better for themselves and other women.
What is often the immediate response from many men and women online, is to berate and slut-shame those brave enough to come out with their stories, further telling those yet to speak up that they should remain quiet and keep their pain to themselves if they are not taking it up with the ‘appropriate authorities’.
Adamawa North senator Elisha Abbo cliff slaps and brutalizes a woman on camera.
Nigerians are all painfully aware of the gross failures of their police system and the government, and today’s reporting of the outcome of the case against Senator Abbo is just another reminder that ‘appropriate authorities’ are not effective in their duty to carry out justice. Despite the video evidence brought forward, the apology posed by Senator Abbo (in which he admitted to having acted out against Ms Warmate as an expression of his anger), and the testimony from the victim herself the magistrate presiding over the case still retained:
“The IPO (Investigating Police Officer) did not investigate this case at all or she just charged the defendant to court via the F.I.R (First Information Report) without due care and attention. In fact, she has succeeded in creating a doubt in the mind of this court during cross-examination and the Supreme Court held that where there is a doubt in a criminal trial, such doubt should be resolved in favour of the defendant”
It is worth noting that this investigating police officer of this case was a women, Mary Daniels – it is a woman who stood up for Ms Warmate, and a women who was later told that she did not do her job effectively. If this is the proven outcome of seeking justice against blatant acts of criminality, how then can anyone maintain that ‘reporting through the right channels’ is the only appropriate way to seek justice when it involves women’s issues?
The law rarely offers any sort of justice in Nigeria, and that is why many brave women, seeing a gap that needs to be filled, have opened up sexual assault referral centres or NGOs of their own or have become mediators through which other women can comfortably share their stories with the world. We’ve seen this from women like Uche Umolu who in her teenage years set up an anonymous Tumblr account through which survivors could speak about their trauma without any fear as they are the ones who take the brunt of society’s attack. It is us, who find ourselves navigating a society that does not protect us while having to show up as advocates for other women in moments like these. It’s an incredibly thankless job and many of these women are met with hate and vitriol for choosing to speak up for the marginalised in our society because the truth is only respected when it is interpreted through the archetypal male lens.
Press Statement: In line w/ our key values— integrity & transparency; this is a detailed report of STER & partner NGO’s intervention in the case of Ms Seyitan Babatayo against Mr Oyebanjo (aka D’Banj).
As an NGO, STER remains committed to supporting survivors of SGBV in Nigeria. pic.twitter.com/BaR0cPN9Pu
— S.T.E.R Initiative (@StandtoEndRape) July 24, 2020
Last weekend, we all witnessed in real time how members of the STER community and well-known feminists like Kiki Mordi were constantly attacked for their involvement in the very high-profile case against D’banj and Seyitan Babatayo. In the past months, we’ve watched the case develop online from Seyitan herself taking legal action against D’Banj, with the continuing support of STER and legal representation from Mrs. Akeredolu (SAN) to being closed through what STER report to be “a private non-monetary agreement”. The case then took a horrific after another mediating party, Segalink took to Twitter to release a bunch of incendiary tweets calling out Kiki Mordi and her ‘coven of feminists’ for threatening himself and Seyitan, while in the process igniting an army of misogynistic men on the investigative journalist.
While Segalink claimed he was threatened by Kiki Mordi and that the investigative process was derailed by her and her cohorts, he was unable to back the claims up with any actual facts of this threatening and instead played on the incendiary nature of the case. It’s a known act that D’banj is a big public figure who is widely adored by his stans, who are known for troublesomely viewing their favourite stars though amoral lenses. By claiming feminists who sought justice for Seyitan were lying and manipulating the facts of the case, Segalink knowingly fed fire to the flames on a movement that is already widely criticised by the larger public for simply trying to ensure justice for women in a patriarchal society.
What followed next was horrific as Kiki Mordi and a host of other feminists were attacked and insulted online, escalating to the point where Kiki Mordi was threatened by a man who knew of her house address. For a woman who has only helped alleviate relief efforts for survivors and offered a prod into our tertiary institutions by highlighting the Sex for Grades scandal, this is grossly inappropriate and unfair. It’s no different from what’s happening in America with rapper, Talib Kweli who has been harassing the woman who accused him of sexually assaulting her for over two weeks.
Abusing the right to freedom of speech, social media has undoubtedly made targeted harassment and bullying rife, as it’s opened up a space where violent ideals, like doxxing and misogyny, are the common currency used as ammunition to target and harass women that go against the grain.
What people fall to realise is that social media has real-life consequences and in many parts of the world, there are laws and initiatives in place to combat social media trolls bent on causing and inciting violence. Talib Kweli’s Twitter account was suspended after weeks of harassing a black woman, so was Katie Hopkins’ account, but here in Nigeria, we don’t have these same protections. Now, as a larger percentage of the population becomes digitised, we are beginning to see the harmful effects of not having these online protections. Seeing as leaders like Senator Abbo would rather control what we post online by proposing laws that are by their very nature harmful, the road to proposing publicly beneficial protection laws for those that are targeted snd harassed online looks like a long and arduous one.
Our perception of womanhood is inherently faulty as we are often told that our mothers and their mothers were ‘strong and resilient’, feeding into this perception that women must suffer in silence and take on the violence without complaints. The strong Black woman trope needs to die, and with it the male hubris that fails to leave space for sensitivity to the dilemmas of women. I don’t know what it’s going to take for us to give Nigerian women the respect they deserve, but it has to happen. There is a painfully obvious lack of care when we talk about the violence that is perpetrated against (Black) women and given that social media vitriol is detrimental to our mental health, according to experts, we all have a collective social responsibility to make online spaces safe for everyone – especially women.
Staying true to our mission reshape the face of African popular culture, The NATIVE team curates a monthly list to spotlight the best and most exciting new artists on the continent. Some of these artists have dropped songs to some regional acclaim, while others are brand new on the block, working towards their first big break. Tune in to what’s next. Click here for June’s Fresh Meat.
Amidst the extremely troublesome year 2020 has been for everyone all over the world, the NATIVE team has collectively found solace in searching for fresh talent from all over the continent with this monthly column. We’re pleased to be witnessing a steady incline for some members of our Fresh Meat list, such as Omah Lay who recently got named as the inaugural face of Apple Music’s latest program, Africa Rising or WhoIsAkin, who was also named as Apple Music’s favourite new artist of the month.
In a post-digital world where nearly everything is on-demand, streaming is now the primary means of music consumption, eclipsing physical forms of distribution and outpacing digital sales by several miles. This is what has led to the paradigm shift we’re witnessing today with young artists, who no longer have to worry about creating commercially viable songs for execs’ approval, as their audience will find them as long as the music exists on the world wide web.
For this month’s edition of Fresh Meat, we’re dedicating the list to the girls, following a tough month for black women all over the world. Watching how the world reacts to the pain of black women has been disheartening, however, it’s amazing to see them thriving regardless. The rap girls from every corner of the globe are having their moment, from Megan Thee Stallion getting a number 1 hit to Saweetie and Flo Milli storming the scene and getting their well-deserved flowers.
Back home where the hip-hop scene is still taking shape itself, the young ladies with the bars have the advantage of proving that they’re worth their salt right alongside male counterparts. From the streets of Nairobi where Bey-T continues to flourish to the hilly landscape of Abuja, home to SGaWD, the girls are spitting straight fire, holding it down for women all over the continent.
Here’s a list of the best new artists from July.
Dee Koala
Like a Koala clings onto trees, so Dee Koala is holding onto her dream of building the Cape Town music empire. Co-signed by prominent South African rapper, Riky Rick, who brought her onto the stage at the 2018 Major League Gardens, Dee Koala is a confident, witty and highly skilled rapper hailing from Khayelitsha, Cape Town. And as her debut project will tell you, Dee Koala is doing it ‘4 The Khaltsha’ (Khaltsha is a contraction of Khayelitsha). “I’m just representing Khali” she announces on her “Friday Freestyle”, letting us know from early one that her township is the most important piece of her.
‘4 The Khaltsha’ kicks off with Koala’s career-defining hit, “Whuzet?” (local slang for “what’s up”). As she rages over the gritty beat, Dee Koala’s fast-paced bars and versatile flows shuttle between English and isiXhosa, an authentic style of rapping which sets her apart from all her peers. Starting her career in English in 2016, the 2018 “Whuzet?” was the first time Dee Koala ventured into vernacular rap, and its success proved to her what she’s always known: you don’t get anywhere by being everybody else, just be yourself.
Just two years since “Whuzet?”, with collaborations with vets such as Moonchild Sanelly and an inclusion on an Africa Unite compilation record with Riky Rick and DJ Maphorisa, Dee Koala is one of Cape Town’s most talked about stars. Known for its Jazz and Electronic festivals, Cape Town’s hip-hop scene – which thrives in response to the hardship felt by some of the poorest population in South Africa such as in Gugulethu and Khayelitsha – is held up by the youngsters, with Johannesburg being the go-to destination for artists who want to make it in South Africa. Not Dee Koala though, she’s staying put and carrying her city on her back as she climbs the mountain of success.
Her latest hit single, “Sel’iwash Yodwa” – which also appeared on the 2019 project – is currently doing the numbers and setting the Koala and her Town up for SA domination. Over the moody production, Dee Koala unabashedly discuss her struggles growing up, opening up with the spit-along confession “men I’ve been broke, I was selling dope// men I been broke, but I ain’t do no coke”. Humour, authenticity and an unapologetic mantra are what Dee Koala channels from her inspirations Sho Madjozi, Riky Rick, Kendrick Lamar, Rhapsody but most importantly, herself.
JELEEL!
The capitalised alphabets and exclamation mark in JELEEL!’s name gives you a good sense of his bolshy nature. Watching him rip his shirt over a dozen times on his Instagram feed and doing backflips while raging with fans, the way he’s chosen to stylise his name seems perfectly suited. All it takes is one look at his hulking physique and you’re convinced that though you may have seen energetic performers in the past, you’ve never seen anything like JELEEL!
The American-raised Nigerian artist recently released his new EP, ‘Generation Z’, where he channels his unorthodox brand of hip-hop at racist American institutions and his naysayers. He was already pushing the boundaries of hip-hop with his auto-tuned rockstar voice, but his new EP combines influences from hip-hop, reggae and dancehall. By enlisting Prettyboy DO as the only guest feature on the 6-track EP, he makes the world feel smaller and illustrates how black music is interconnected as they pair up as brothers in arms to battle opposition; “In the fight Imma ride with a sinner/ One more time for the time they killed us”.
Because ‘Generation Z’ was released during the height of the riots and protests against racism and police brutality sparked by the murder of George Floyd in America, JELEEL!’s war-ready temper felt urgent and provided anthemic songs like “Red Light!”. Nonetheless, he also sought escape from the politicking through sex and partying. He showed he can be expansive yet intimate on the Prettyboy DO assisted “Sinner!” and, dutty wine-worthy and slick on “Sex!”.
Bey- T
Kenyan-Eritrean rapper and singer, Bey-T has been putting her country on the map since her involvement in Mr. Eazi’s music programme, emPawa Africa two years ago. The 20-year old artist has been making music for over three years, however, her debut project ‘Concept: Vol. 1’ serves as the most definitive and well-rounded introduction to the world of the talented rapper and singer.
The project’s opener “Intro (Hero)” is a self-assured tale of rising through travails, as Bey-T acknowledges that the long journey it took for her to reach this monumental milestone – her debut album. From the very first moments of the project, we see the workings of an artist determined to prove something through her silky vocals, jazzy production, and lyrical chops.
“Light” is a deeply introspective and pious number, as Bey-T narrates the difficult tales of her childhood (“Bite your tongue too hard and you know to the system you’re a slave”) which have become less of a burden as she’s entered adulthood because she had God on her side (“I called on His might/Got rid of every fright”). It’s clear that Bey-T’s faith is very important to her as spiritual inflections course through the project’s best moments; whether it’s reveling in the peace of mind that comes with being under His care on “Jaded” or addressing those who are sleeping on His truth on “8:59”, her Christian faith is a bedrock on which her artistry draws its inspiration.
Having found her footing in music through her years as a poet, Bey-T’s music is also deeply poetic and detailed. Despite this, she still moments where she’s able to let go and truly have fun and those are the moments she truly shines. One of such songs is the lively “Fly” where she raps: “Shades dripping from the eye, only time I cry/J’s popping bottles man we litty on a Thursday” showing that she can be serious but she’s got a playful side to her. This fun side shows up again when she links up with Namibian rapper, Lioness on “Element” with their strong synergy and star power immediately making the song an instantly memorable one. They trade confident bars about making their haters eat dust as they raise a scathing middle finger to those who don’t recognise their star power.
Bey-T demands that you “pay attention when [she] pulls up” and from what we’ve heard on ‘Concept: Vol.1’, it’s going to be harder to not give this talented rapper her due credit. We’ve been saying for the longest that the women in rap are making a resurgence so it’s time to buckle up and get on board as Bey-T joins the ranks of MCs ready to bring a fun, new take to the genre.
Cheque
After highlighting indigenous hip-hop’s mainstream appeal and establishing himself as a star and an independent label owner, Phyno is finally making way for the new generation of Nigerian pop stars. Cheque got signed to Phyno’s Penthauze in 2019 and with his newly released debut project under the label, ‘Razor’, he shows off the real star quality that seemed to be missing since he came into the scene.
Cheque’s 2015 debut, ‘S.O.O.N’ featured Fireboy (then known only as DML) and Chinko Ekun, but he explained in a recent interview that he didn’t feel confident about his music. That’s a sentiment that’s far removed from his cocksure performance on “Satisfied”, the lead single from his new EP. Hearing him say “They like my vibe but nobody fit do am my way”, as he sang confidently over the trap beat produced by Masterkraft and Certibeats, the single earmarked him as one of the existing new artists closing the gap between rap and R&B and expanding the barriers of Afropop in the process.
Since getting signed to Penthauze, Cheque seems to have overcome his insecurities. He proved his rap abilities with his impressive guest appearance on “Warlords” from Olamide’s album, ‘999’. And with the acclaim that followed his standout performance, it’s hardly a surprise that he chose to narrate his triumphant musical journey on ‘Razor’. Though the songs are written to highlight his newfound celebrity and confidence, he also opens up about some of his past struggles to tell his disarming story of self-discovery; “Nothing is going to hold me back again/I’m from the streets/ Look at this drip”.
While Cheque shines brightest when he’s giving the middle finger to status quo with his r&b and rap explorations, tracks like “Odun” show he’s also accomplished at following the commercially-proven Afropop path with its dance floor romance theme and lightweight melodies. Artists with Cheque’s range and confidence to explore different sounds don’t come around often, and because of that, Penthauze has unearthed a gem in him.
SGaWD
The first thing you’ll notice about Abuja-based singer/rapper Seddy, known to fans as SGaWD, is that she’s extremely eloquent and articulate, and this shines through whether she’s performing or in conversation. She says: “I don’t want to sound cliche and say I’ve been singing all my life but I pretty much have been even though I didn’t take it seriously until I turned 18”. When she speaks, she takes meaningful pauses that have you instantly hooked, before answering in expansive stories that feel very much like talking to any old friend.
SGaWD hasn’t dropped much music, but everything she’s touched so far is straight fire. Fairly new in the game, she’s been making music since 2015 but it took several years of fine-tuning her craft and getting her sound right before she mustered the courage to put her music out there. A quick scroll through her Soundcloud will reveal the optimistic freestyles she threw in the ring to gauge audiences’ reaction to her powerful vocals and sex-positive lyrics.
The 22-year old artist has multiple sides to her and each new release adds a new layer to her artistic mosaic. It was growing up on an eclectic musical diet of artists like Jimmy Hendrix, Lauryn Hill, Nicki Minaj, and even Brandy, which formed the basis of her own love for genre-mashing music. She first established herself as a rapper, weaponising misogyny through the execution of her bars, much like rappers Megan thee Stallion and Flo Milli are doing today. On “Are You Dumb” she demands to be paid what she’s owed as she packs an onslaught of wordplay to decimate the competition. Each punchline is a knockout with her lyrics both a throwback and a fresh take.
Women in rap are far and few between in these parts but it’s her dedication to stand out that propels her artistry: ‘I make feel-good music for women’. SGaWD knows that she may not be as established as other artists in terms of output but she’s never willing to compromise her sound to get a fast hit. She’s always going to take her time to make sure she’s putting out quality music that sees women at their most base emotions.
When she’s not showing off her clapback prowess, she’s singing heartfelt numbers, which are sure to resonate with anyone who’s experienced the jittery unsettling feeling of love. Her latest single “Feel Right” featuring Mafeni and DOZ encapsulates the pure adrenaline of a crush, and about how longing for someone whose heart can’t be trusted leads to all the wrong choices. With the amazing reception from fans so far since the single dropped, it’s clear that SGaWD has all the right elements to become one of the best young acts from these parts. In case you didn’t know, it’s Siren Season and SGaWD is cooking up bars you definitely don’t want to miss out on.
WNDRSZN
With three projects in three years and a prolific string of singles, WNDRSZN’s sprawling catalogue documents his artistic evolution in real-time. The Botswanan rapper/singer made his first ripple with ‘26HVN’, the 2017 debut EP where he revelled in the exuberant high of youthful invincibility and the mild naivety of navigating relationships. While he wasn’t short of confidence on the project (“niggas getting served, I don’t need no tips”, he rapped on the title track), his developing voice reflected his influences very clearly on a handful of occasions: “Right Now” is a Drake mimic, down to the cadence and weary-tinged lyrics, and “No Time” rips a page from Bryson Tiller’s ‘T R A P S O U L’ days.
Between his two subsequent projects, however, WNDRSZN has grown into a more rounded artist. His latest project, ‘GONEWORLD’, showed how he’s been able to mix and distil his influences in a way that plays into his now distinct traits and unique agenda. On the 10-track project, WNDRSZN excavates the depths of infatuation with expressive lyrics and a myriad of rap-sung flows which manage to add an infectious edge. Armed with a great ear for picking beats, the modish fusion of trap and r&b, with tinges of alternative elements no less, serves as the backdrop for his raspy voice, adding an extra layer of glossiness to his melodic raps.
Continuing his prolific run, WNDRSZN has released 7 tracks in the past four months, with each one showcasing even more improvements in his writing and emphasising the dynamic range of his ability. “Safari”, perhaps the best of the bunch, showcases his willingness to keep innovating, as he merges a representation of the Botswanan experience with his new age sensibilities, singing over a combination of folksy guitar riffs and trembling 808 bass. Already proving himself to be adventurous and obsessed with improving, WNDRSZN is contributing his quota to expanding the horizon of music coming out his country, and the world is, and should be, increasingly taking notice.
Ilaye
“If you don’t know what to say, say the truth,” Ilaye explains as the guiding principle behind her brand of honest writing, where complex feelings are untangled and rebuilt into profound expressions. In August 2017, the Nigerian singer debuted with “Castle Wall”, a flamboyant and instantly striking song where she established music as the outlet for her stories and musings about vulnerability. Accompanied by acoustic guitar, gently sweeping strings and an indie-pop drum swing, Atta Otigba’s production elegantly accentuates the sheer radiance of Ilaye’s voice.
Possessing a prodigious ability for singing and preferring sophisticated instrumental choices, the touchstones for Ilaye’s style of music range from Asa to Lianne La Havas, however, she’s set herself on her own singular path with the near specific and lived-in nature of her songwriting. “Most of the stories in my songs are from personal experience or some facet of personal experience,” she tells the NATIVE in a voice note. “It could be something that happened to me or something that I witnessed happen to someone else. The other percentage would be imaginary—so, let’s say 70% experience and 30% imaginary.”
‘Pneuma’, her debut EP from October last year, is a marvel in detailed storytelling and empathetic messaging. On the intro, “Barbecue”, Ilaye wistfully reminisces on the childlike innocence of finding love across the street, opting to stay in the present rather than longing for the past, while “Dearest Friend” is an endearing ode to personal traits society might consider as eccentric or downright flaws. The weight of her topics are wrapped in gently stirring melodies and gorgeous production choices, resulting in 6 songs that are suitable for moments of deep rumination and/or leisure. In summary, Ilaye makes instantly enchanting music—you’re welcome for the (re-)introduction.
Nissi
Yesterday, Nissi released her debut project, ‘Ignite’, which serves as her introduction to the world. Nissi wants her music to leave a mark, and get people to think beyond what’s on the surface. On a brief call with The NATIVE, she declares that she wants her music to make everyone as free as they feel when they’re on holiday, and for her lyrics to empower them to live every day like they would if they had no responsibilities.
Nissi is always pushing herself to be the best version of herself because she believes that to be her capability and you can hear hints of this in her music. The best music is the kind you can feel, and it typically takes a critical listening her to sift through the noise to get the intended message across. Not with Nissi’s music, however, and this is because she’s communicating clearly enough for you to hear and feel what she wants you to. With her first project, she’s ‘peeling back the layers of the onion’, whetting people’s appetites for the rest of what she has in store for us.
‘Ignite’ is a project that speaks redemption and liberation and if you listen closely, you can hear that she’s authentically tackling the realities of life. With Ignite, she is at the beginning stage of her fire spreading and there are no limits in sight for her, she is aiming to present herself as a whole, and really give people a feel of what she’s about on this project. This is buttressed by the fact that there are no features except a cheerful recording of her grandmother on the joyous closing track “Babalawo”.
Ricky Tyler
As the twenty tens came to a roaring end, the music industry found itself in a peculiar debate about R&B. One, who was to be crowned its King, and two, why everybody was in such a rush to claim its death? Like all music genres, R&B has evolved, taken on inflections from the other genres that populate contemporary soundscapes and folding to the whims of the current artist who stand at the forefront of it. But even discounting the newer sounding iterations of R&B, the ‘90s and ‘00s tastes that defined the era still live on in emerging Gen-Z artists from all over the world whose first interaction with music was through discographies of the likes of Brandy, Usher, Alicia Keys etc.
This is South Africa’s Ricky Tyler, the Def Jam Africa singer who’d give any of the aforementioned vets a good run for their money – noughties R&B resonates throughout his Ricky Tyler’s music. A trained musician, Ricky Tyler boasts envious vocals of astounding proportions, which live up to the standard set but the strength of his lyrics – mature (“broke up with my exes, I just need the time to grow” – “Love & HH”), tortured (“save us from our demons” – “Wind & Fire”), poetic (“when she sits down by the river, and leaves her tears in the water” – “High Hopes”) and of course longing for devotion (“promise me I’m the only one” – “Mine & Yours”).
As well as singing formidably, Ricky Tyler also spits bars over his nostalgic beats. On his 2020 album, ‘Small World’, Ricky Tyler acts as both the rapper and the singer of a typical hip-hop and R&B mashup on the rousing “Deja Vu”, juxtaposing his sung zest with a fiery rap verse. This trope crops up again on “Mine & Yours” and the funk-infused standout, “Peachnut”, but with these numbers Ricky Tyler leaves the rapping to M.I. Abaga – who ushers out an absolutely stunning performance for the deserving record – and Alpha P, respectively.
Inspired by Childish Gambino, Ricky Tyler considers himself a triple threat in the entertainment industry, singing, rapping and acting, much like his idol Donald Glover. In fact, Ricky Tyler’s first envoy into the creative industry was as a theatre actor, apparent in his cinematic music videos, like the Rom Com “Thirty K’s” or the solemn drama “Deja Vu”, where he morns a loved one. Determined not to get caught up in the lifestyle, Ricky Tyler is staying grounded with the help of his friends but also his music, always making sure to stay true to himself and never compromise on his artistry. It’s a lesson that will take him far.
Featured image credits/NATIVE
Words by: Seni Saraki, Damilola Animashaun, Adewojumi Aderemi, Dennis Ade-Peter, Tami Makinde & Debola Abimbolu
As Big Brother Nigeria returns to our screens, populating pop culture conversation, freelancer, Wale Oloworekende investigates how this latest iteration of the religiously-viewed reality TV show differs from past seasons.
Earlier in July when Big Brother Naija rolled back into town after its one-year hiatus, powered by a lavish budget and turbocharged by its ever-willing phalanx of viewers and on-the-go commentators, it felt inevitable that the 24-hour reality TV show would slowly but surely alter the nature and scope of leading conversations across social platforms in the coming months. Throwing up a mix of viral memes, funny pictures, media heartthrobs, pantomime villains, and enough contentious moments to last a lifetime per season, the ubiquitous TV show over the years has morphed into the sort of well-oiled pop-culture machine. The show is dually established in online circles and on the wider Nigerian consciousness to much the same extent as any previous television fixtures from the yesteryears.
Big Brother Naija, however, stands apart from those other reality shows because of its roving roster. Apart from the immutable cameras of the widely-watched show that satiates Internet curiosity, one of the most important factors that have helped build traction is the sheer diversity of the contestant pool that makes their way into the house every year. Sans criticism of stereotypical character casting, there have been business owners, fitness enthusiasts, aspiring actors, pilots, musicians, and models who have sought to use the Big Brother platform as a launching pad for their lofty aspirations.
Nollywood has, perhaps, been the biggest beneficiary of those dreams; with the high premium placed on publicly-recognisable faces in Nigeria’s movie industry, ex-BBNaija housemates like Alex, Tobi, and Bisola have navigated the path from reality TV characters to movie stars with relative ease, appearing in a number of high-profile productions since their time in the house. The link with the movie industry has also been engendered by the showrunners on multiple occasions across previous seasons, with a number of Nollywood icons visiting the house to discuss and socialise with housemates. And the benefits for the brand’s visibility have been clear: Nollywood’s leading lights are co-opted into the emotional whirring of the show, and bring their sizeable followings into the mix also, thereby amplifying the drama and intrigue that BBN thrives on.
Curiously, for all its masterful understanding of the buttons that push the cultural plain and the Nigerian psyche, the Big Brother Naija brand has, perhaps unconsciously, relegated music to the backburner of the show. In a country revered for its innovative music community, iconic acts, and devoted fandoms it inspires, music has never been conspicuously written into the multi-layered, plot-shifting grand story of the show; instead, the art form had always been limited to a form of aesthetic and used, at other times, as content filler.
Belatedly, as the early weeks have shown, the music industry is colliding with Big Brother Naija. In the time since the reality show has returned to screens all over the country, and as subtle subplots are being planted, it is not hard to pick up on the fact that some of the biggest conversations to come out of the house have been predicated on music, the characters around it, and their intersection with the wider ecosystem. On opening night, music fans, journalists, and artists were pleasantly surprised to see some representation from their industry as a number of music personalities got introduced to the public as part of the “Lockdown” class.
This is not to suggest that Big Brother Naija has never had a dalliance with music culture in the past, alumni like Efe Ejeba, K.Brule, and Debbie Rise have used visibility from the show to build music careers of some note, the only *key* difference is that the parameters of the relationship between the music industry and reality TV is moving beyond the ideation of a need to deliver unheralded talent from the fringes to the thick of national conversations. Big Brother Naija is freeing itself of the responsibility of spotting the remotest talents and casting a wider net on music industry hotspots like Lagos and Port Harcourt to present stars that more closely fit into the industry’s scale of preference.
A natural consequence of that is the inclusion of Laycon and Tolanibaj as contestants this year. Both participants are fairly known in the Lagos music ecosystem and that drives up conversations around them and, by extension, the show in the city that moonlights as Nigeria’s cultural capital. To be clear, this recognition is the key difference between a Laycon and an Efe Ejeba. Where one came on the show as a gifted but unrefined outsider with dreams of music glory, the other is seasoned in the inner theatrics of the industry and has a slew of partnerships to offer up as proof of artistic legitimacy and cultural currency.
It is that startling understanding of those halfway portents-making culture tick, that allows Big Brother Naija to be the premier brand positioner and ad seller in these parts. In proving of its power, mere hours after being introduced as a housemate, Laycon’s album, ironically (or perhaps strategically) titled Who is Laycon, was on the trending list of all major music stores in Nigeria and has continued to chart. In the weeks after, his profile has been bolstered as has his social media following in ways that no other form of targeted marketing or PR gimmicking could have mustered. Just last night as his “Hiphop” song featuring Deshinor raved through this week’s House party, online viewers were as full of support as the housemates in reaction to hearing one of Laycon’s tracks.
Regardless of whatever he goes on to do, Laycon’s character module is a direct progeny of Efe Ejeba. The ‘original’ BBNaija musician, Efe’s post-house career is proof that, come what may, people will always identify with you even if the music doesn’t connect because the clout already exists. However, unlike Efe, who didn’t have a project before she starred in the house, Laycon’s album was strategically released in advance, ensuring that he comes home to a fan base that wants more of him and enough clout to push further work out to significant public frenzy. For Big Brother Naija, syncing Laycon’s publicly-backed come-up into the narrative of the show ensures that the show is tethered to the music community and the larger machinery that is invested in Laycon’s success.
Similarly, there are benefits to aligning with the brand even for established acts. For the entire course of its seasonal run, there is no stage that will command more attention and potential for virality than Big Brother Naija’s and the reasons are abundant: Millions tune in enviously to the weekly Saturday parties to follow the never-ending carousel of high-octane drama the event provides. Furthermore, as we saw with the rampant excitement around Oxlade’s performance yesterday, any musician who shows up to the Big Brother House is likely to get a significant boost as well as centering in the most heated discourses of that day off that appearance. From last weekend’s eventful party, public reaction to the inability of Omah Lay to perform due to technical hitches dominated the Twitter landscape, as did sarcastic reactions to Sarz’s disc-jockeying which didn’t quite match up to what they were expectating from the premier beat-maker. Watching these creators become a part of intense cross-platform conversations off the back of (non) appearances provides an indication of how Big Brother Naija can affect the ebb and flow of culture in all directions.
Aisosa Okundaye, former head of public relations at Chocolate City, believes that getting a placement on the show is a huge landmark for any artiste. “There is almost a celebratory feel that just says…oh, I’m making the right move,” he says. “The housemates know your songs, the DJs know your songs, you can count that as a success.” Artists are also self-aware enough to recognise the import of the platform. In discussion with one artist, who remains anonymous, days before the inaugural party of the current season, he elucidated his plan to release his sophomore album in the thick of the show in hopes of getting a placement on the show that can be piggybacked off to help the album’s reach.
Of course, this symbiotic relationship does not only provide benefits to the music industry. Music content is central to the logic of sequestering people away for over 90 days. To combat the ennui of being separated from loved ones and sources of enjoyment, avenues like the weekly party, which is heavily dependant on music for entertainment, are central to the show. In turn, the weekly parties continue to provide newsworthy moments that feed into the omnivorous appetite of social media, especially now when the social realities of our time mean that people are forced to seek entertainment online.
As mentioned earlier, Big Brother Naija has found a way to co-opt movie industry practitioners into the doldrums of now-iconic fandoms and stanships in previous years, but the music industry remains an unconquered frontier. Beyond scatterings of support for specific contestants in seasons past, music stars, bar exceptions like Don Jazzy, have not immersed themselves into day-to-day details of what plays out on their TV screens and as such those in their spheres of influence may also be further out of the Big Brother Naija loop. Now though, with musicians showing support for Laycon, and some from the wider industry rooting for Tolanibaj, there is traceable interest from people who might have only been casual observers in the past. Music personalities drive up engagement, their music soundtracks activities in the house – both show and personalities benefit from the arrangement.
Indeed, for much of Big Brother Naija’s run, the approach to music’s potentiality on the shows has often appeared as a mere byproduct of other strategies for engagements. This season is displaying the full power of the reality TV show as an arbiter of sorts and a nexus for conversations around popular music like never before. But what if the alignment of music and reality TV right now is just the tip of the iceberg? What if there’s more to come as the season goes by and more viewers get put on to Laycon? Are we ready for the implication of what it would mean to have a potential music superstar broken in by the pop culture reach of Big Brother Naija?
For Aisosa, something about 2020 means the possibility of a Big Brother Naija music superstar is not to be scoffed at.
“Anything is possible, the end goal is about presenting the (musical) talents of a person and Big Brother Naija is one of those platforms where you get to show yourself and get heard. There’s that opportunity to get seen, so, of course, it is definitely possible to break through and become established based on that hype because talent is talent at the end of the day.”
Already, whisperers suggest that record labels want to make a play for Laycon post-Big Brother Naija, hinting at a future where many more up-and-comers and/or rising stars might see the route as a plausible option for career advancement.
What cannot be in doubt is that we are only beginning to see the full scale of Big Brother Naija’s potential in relation to music. The medium has always been a locus of popular culture’s interjection with human psychology, and now it is maximally showing how both relate to music – established and budding. What plays out on TV screens soon enough seeps into the larger society and Big Brother Naija may just be in the process of changing all our conceptions of music breakthroughs, and what is worth paying attention to.
Mannywellz’s “Floating” is the perfect song to play while driving to meet up with a lover. The languid groove of the instrumentals gives Manny Wellz a perfect to lay down his affectionate vocals and confess his innermost feelings.
Singing “Every time I’m with you/ I feel like I’m flying”, “Floating” is an endearing song that pays tribute to intimate unions by pairing soulful melodies with romantic lyrics. He’s then joined by Vanjess, who add a woman’s perspective to the breezy song about the euphoric high of being in love.
“Floating” is the first single from Mannywellz’s upcoming EP, ‘Mirage’ and if the sweet and tender ambience is anything to judge by, we can expect a truly sensual experience when the EP drops later this year.
Stream “Floating” by Mannywellz and Vanjess below.
Featured Image Credits: Instagram/mannywellz
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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
The general music soundscape all over the world has never been more independent of itself, and over here in Nigeria we’re welcoming a new vanguard with a wide and diverse range of sounds to suit many different tastes. One of the most special things about this generation of innovative artists is access to a wide range of influences, and the freedom to take experimental risks that veer away from what’s considered the norm, and this is where SOLIS thrives.
In line with this, she has just released her debut project, ‘Ruled By Venus, Unfortunately’, exclusively on Soundcloud and Audiomack, after giving us a good taste of her ability with pre-released singles such as “Angel” and “Watch Me”. Her confident delivery on the 6-track project shows off her vocal range. From the project’s bolshy opener, “fuck boy kiss girls”, to the more mellow closing track, “iloveyou”, SOLIS’ incredible vocal ability is the inescapable focal point of the project.
Solis has carved a unique niche for herself, and we’re looking forward to seeing how her music is received, and definitely also to getting more from her.
Last month, Hollywood behemoth, Disney along with Queen Bey, announced the imminent arrival of ‘Black Is King’ a visual album for her 2019 The Lion King compilation album, ‘Lion King: The Gift’. As always, with everything Beyoncé does, the internet went into an absolute frenzy and whether you were excited for yet another Beyoncé-helmed exhibition of African talent, or mad at the essentialised depictions of Africa inferable from trailer, the July 31 release date was etched in everybody’s mind.
And it’s finally here.
Available to stream exclusively on Disney Plus (which you can sign up to here), ‘Black Is King’ is a rousing film dedicated to exploring Black ancestry, traditional African customs through the lens of an uplifting modernised Lion King story. Shot around the world, from West Africa to Belgium to South Africa to America’s East Coast, ‘Black Is King’, features, Shatta Wale, Tiwa Savage, Adut Akech, Yemi Alade, Lupita Nyong’o, Aweng Chuol and a few other African stars.
Directed and executively produced by Beyoncé, ‘Black Is King‘, which has been a year in the making, also credits an innumerable number of African creatives behind the scenes, such as Kwasi Fordjour, Meji Alabi, Ibra Ake, Emmanuel Adjei, Daniel Obasi and many more. Unfortunately, without Disney Plus access, you won’t be able to watch the movie, but Beyoncé being Beyoncé has given us even more incentive to hop onto the streaming site, by unveiling the new, appetite-whetting video for one of The Gift‘s standout tracks, “ALREADY”.
Opening with a soundbite from The Lion King, the video for the Major Lazer and Shatta Wale-assisted song captures Beyoncé dancing effervescently or posing majestically in a myriad of locations. She and her dancers take over an underground space dressed in Marine Serre, she’s a mounted queen beside King Shatta Wale, she’s at one with nature holed up in a tree and the leader of an iridescent biker squad.
The video for “ALREADY” has a plethora of cuts, one of which was leaked last week, and caused much excitement to Nigerians as we saw Beyoncé doing the Zanku. As she parties with the cast and crew of the “ALREADY” video, Beyoncé is also spotted hitting another popular Nigerian move, kpakujemu. She’s quite savvy with her West African dance moves.
‘Black Is King’ will be available on DSTV channel 101 tomorrow at 8pm.
Watch the exciting video below:
Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju
Even without a full-length project to his name, Maleek Berry has risen to an undeniable level of prominence, especially since his transition from producer to full-on artist. The latter part of the last decade saw him deliver a row of hit songs and two well-received EPs, and he’s also played his part in Afropop’s global agenda, featuring on international collaborations with Estelle, Kid Ink, Goldlink and more.
For his very first release of this year, the singer/producer has now shared ‘Isolation Room’, his first project in well over two years. Hours before the drop, Maleek Berry clarified on his Twitter that ‘Isolation Room’ is not an EP or an album, rather “it’s a collection of songs for my fans who have been waiting”. The collection comprises seven new songs, and it features Tiwa Savage as the sole guest.
Listen to ‘Isolation Room’ here.
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Spaceship Ent artist, Nissi Ogulu has just released her debut project, Ignite, with the aim to introduce all the layers of herself to the world. She describes the EP as her truth and the means for her to send her message across to the world, and upon first listen, she’s definitely got the job done.
Housing 7 tracks with a diverse range of sounds, Nissi had been whetting our appetites for the project with pre-released singles “Trouble”, “Tornado” and “Judi”, which gave us a good idea of the quality we should expect from her. In a brief conversation with The NATIVE, Nissi explained that everything she releases is like peeling back the layers of an onion, and she’s slowly introducing the whole world to her vast talent.
Throughout each song, Nissi sonically transports us through a sonic journey with the final destination being a connection to yourself. From the standout track, “Holiday”, where she sings in Fresh and is aiming for people who are listening to live as freely as she seems to be on the song, to the closing track “Babalawo” which aims to provide listeners with a firm rooting of who they are using Yoruba influences, the project is an encapsulation of her wide influences from all over the world.
Speaking to The NATIVE about her music, the singer said:
What’s the point of saying anything when it’s of no value? What’s your value add? For me, it’s not about the popular phrase of ‘I just caught a vibe’, the vibe is important, but like what are you saying? The real skill is being able to say something that people can understand and enjoy easily.
The best music is the kind you can feel, and you’re bound to feel something from Nissi’s debut project.
Listen here:
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Damilola is the HBIC around here. Don’t tweet at her @damdamxx
Pairing up with Lily Allen, Stormzy, Four of Diamonds, JHus, Dave, Ed Sheeran, Burna Boy is very familiar with UK musicians, so whilst we never would have expected this latest collaboration, we aren’t all that surprised that Burna Boy has now lent his vocals to of the the UK’s most magnanimous voices, Sam Smith.
An effusive pop number, “My Oasis” begins with the melancholy strokes that permeate the track through its sad, longing lyrics. An R&B backing track, complimented by brief stints of Latin strings, follows Sam Smith throughout their opening verse up into their quintessentially pop crescendo, which culminates in a lamenting chant of the song title “my oasis”, followed by a plaintive confession from Sam Smith that “there’s nothing I can do when it comes to you”.
Burna Boy enters on the song’s second verse; way off base for the afro-fusion artist, Burna Boy’s performance on “My Oasis” flaunts his versatility. Going through the same motions as Sam Smith, Burna Boy is similarly (albeit unrealistically) dedicated to a lover who is, by the sounds of it, indifferent to him and his love. Hopping back onto the track after Sam Smith’s chorus, Burna Boy signs us out with some nostalgic musings over the outro, leaving listeners longing for more.
Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju
A couple of days ago, Patoranking announced that his third studio album would be dropping on August 28 – rumoured to feature King Promise, Sauti Sol and “GirlieO” partner Tiwa Savage, amongst others we hope. Though the project’s name might seem unimaginative, “”Three’ is a strong number” for Patoranking, as, he explains, “it stands for how I see language. In making the album, we tried to look at love, life and happiness.” The lead single, “Abule” fills us with all three: happiness and life, thanks to the inspirited up-tempo beat, and love, as Patoranking sings adoringly to his “Abule” (hood).
“I’m proud to be from my ‘abule’, Ebute Metta, because to have made it coming from there it’s only by God’s grace. It’s made me who I am today and it’s part of my story. So I waste no opportunity to let people know about my ghetto.”
Premiering with Ebro Darden on Beats1 Radio, “Abule” is a celebration of Patoranking’s home, the neighbourhood of Ebute Metta. Through the dancehall record, Patoranking is effusive about his neighbourhood, describing his community, the fun they have and how dearly he holds on to his locale – despite his huge international success.
Honouring his “Abule” with this one, Patoranking is encouraging listeners to do the same, going a step further than releasing this island-themed number to create a website where fans can create custom graphics to memorialise their own homes zones: repyourabule.com. Hoping for fans to share dedications to their abule on social media using the hashtag #repyourabule, Patoranking aims to open up a conversation about giving back to our communities and also protecting them.
“I feel it’s important through this new song to give my fans a chance to celebrate their own ‘abules’. And to protect their abules, too. Back in May, my team and I partnered with Ebele & Anyichuks Foundation to go to many ghettos across Lagos to give away masks and relief items. It’s important we stay safe and do our part to protect.”
At present, Patoranking is concerned with the ongoing COVID-19 outbreak that, across the world, disproportionately affects poorer populations, seeking to help them prevent the spread of the virus as much as possible, seeing as how social distancing measures are near impossible in these slum settlements. However from the unjust evacuation of Tarkwa Bay residents authorised by the state government earlier this year, to the demolition of the Otodo Gbame community back in 2017, and the many other forced resettlements (without compensation) of whole local areas, it’s clear that we must all join hands to protect the Abule from another type of virus: the very people who are responsible for doing so.
Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju
Collaboration is arguably the most important asset to a musician. Whether it’s working with a producer, tagging along with an established act who’ll put you on the map, broadening your musical scope by teaming up with an artist from a divergent soundscape or simply having fun with your fellow buddies in the industry, collaboration is something all artists do, and something all musicians benefit from.
As such, collaborations exist in abundance. Today, on Apple Music Nigeria’s top 100 chart, over 50% of the songs Nigerians are listening to on the streaming service right now are collaborative works. In 2019 alone Afropop heavyweight, Davido collaborated on almost 50 tracks, whilst Cruel Santino the year prior didn’t release even one solo track, working with his peers to deliver timeless bops such as “Alté Cruise” and “Freaky”.
But on our side, as music experts dedicated to pointing our readership in the right direction always, our job is only made more difficult with so many strong pairings to pick from. Who are those two GOATs really? Is it Santi and Odunsi on the career-defining “Gangsta Fear”, the provocative “AmI A Yahoo Boy” duo, Naira Marley and Zlatan, Simi and Falz on “Soldier”, Wizkid joining Olamide on his breakout “Omo To Shan”, or even music vets Jazzman Olofin and Ayuba on the club banger that has remained timeless, “Raise Da Roof “?
Well, from year to year, as our tastes change, so do the GOATs; from the past five years, these are the pairs that have delivered the top 3 team-ups.
2016
It’s hard to think of 2016 and not remember the summer of dancehall Drake who delivered the trifecta of “Controlla”, “OneDance” and “Work”, the last of which was a Rihanna assist. Whilst Wizkid was doing his thing in the overs, enjoying fresh acclaim from his “Ojuelegba” remix the year prior, firing the clubs up right alongside the international acts were vernacular rappers like Phyno and Olamide, and Sarkodie over in Ghana. At the same time, two boys who would change the face of Nigerian music forever were also laying their foundations.
3. Phyno ft. Olamide – “Fada Fada”
First breaking out with his Wizkid assisted “OmoToShan” – also a strong collab itself – it didn’t take long for Olamide to secure his title as the king of street rap in Nigeria. A few years later when Phyno burst onto the indigenous rap scene, diversifying the space with sounds from the East, the two made a formidable pairing who to this day, continue to drop lasting collaborations.
Playing right into the loud, up-tempo, instrumental preferences of a typical Lagos party, Olamide and Phyno’s “Fada Fada” went off at every engagement and boomer birthday, doing a solid job of uniting both Igbo and Yoruba cultures in collective celebration.
2. Patoranking feat Sarkodie – “No Kissing Baby”
Patoranking sure knows how to pair up. Tapping one of our talented neighbours, Sarkodie for this 2016 banger, Patoranking left an imprint in club scenes from Nigeria to the UK and right back to Ghana. There might not have been much kissing, but there was certainly a lot of touching, whining and gyrating to this one, way back when.
1. Cruel Santino ft. Odunsi The Engine – “Gangsta Fear”
Not too much needs to be said of this game-changing collaboration. Bringing Odunsi to popular consciousness and defining Santi’s signature flow, “Gangsta Fear” opened up a sonic revolution in Nigeria, inviting in the diversity of sounds we enjoy today. Fairly new in the game at the time, the song went on to become a certified and undeniable hit in the years to come.
2017
As 2016 is known for its Drake run, so 2017 is characterised by Davido’s back to back to back to back solo hits #thatyear. But just because Davido was keeping his tracks to himself doesn’t mean everyone else wasn’t out creating collaborative masterpieces. With his grossly underrated ‘Sounds From The Other Side’ Wizkid was fully capitalising on his growth within the global music industry, Runtown followed in Davido’s steps to tap the coolest kid in Africa, Tiwa Savage lit the fire for what would become another unfortunately androcentric scandal, Odunsi & Nonso Amadi were cultivating their underground following and Ycee was prepping to show the world just how much he’s got with the help of Maleek Berry.
Collaborations were rife #thatyear, but none could top these three:
3. Tiwa Savage ft. Wizkid – “Ma Lo”
Both long-standing Nigerian pop stars by this point, it’s rather shocking that “Number one African Bad Girl and Star Boy” hadn’t given us a hit single together before “Ma Lo”. But when they did, oh, they did. With a delicate Spellz production, “Ma Lo” features one of Wizkid’s most memorable performances in recent time, which perfectly complimented Tiwa Savage’s command of the track.
2. Ycee ft. Maleek Berry – “Juice”
Produced to perfection by Adey, Ycee’s “Juice” showed a completely different side to the “Jagaban” rapper, as he swapped out the lively Olamide-ready beat for softer tones, suited to the likes of Maleek Berry. With an easily captionable hook that fittingly describes the song (“too much juice too much sauce”) this unsuspecting collaboration between Ycee and Maleek Berry made huge waves that year.
1. Wizkid ft. Drake – “Come Closer”
Though pop culture hindsight might encourage us to focus on the fact that Drake refused an appearance in the two music videos Wizkid put out for this jam, we dare not overlook just how powerful this here record really was. Recorded at the same time as the chart-topping “One Dance”, Wizkid took full control of this Drake collaboration, making up for the fact that his sensational verse was mixed into a bridge on the Billboard No. 3 record.
With a lengthy Drake verse that hits as hard as anything on the 2016 project, Views, and a lulling yet still captivating Wizkid performance, coming at the top of the year, “Come Closer” was a hard act to follow. And no duo managed to.
2018
‘Welcome back, Duncan Mighty’ read the banner as we entered into the new year. Duncan Mighty’s return to music back in 2018 illustrated the industries adventurous year. Not your typical Girl Next Door, Teni Makanaki became the star of the show, whilst the Alté scene made it clear alternative music in Nigeria was here to stay. In 2018, music finally broke free of its afropop chokehold, leaving room for a broader range of talents coming to the fore. With the inception of Bojebutter and one of Davido’s best features on Fresh L’s “Firewood” in 2018, the landscape certainly seemed more welcoming, but ironically the sound that still managed to hit the mark in terms of dual collaborations had afropop at its heart.
3. Fresh L ft. Davido – “Firewood”
Back in 2017, we were introduced to Davido’s unmatched proficiency on a Fresh VDM beat, and, recorded back then, “Firewood” was another hit in their combined catalogue. Pitted as one of Davido’s best feature performances ever, “Firewood” might not have done the same numbers as some of the year’s other couplings did, but its resounding success speaks to just how fire this duo is. More of this please.
2. Boj & Ajebutter – “Yawa”
The people will always be hungry for some Boj and Ajebutter – they have 2014’s “Omo Pastor” to thank for that. Lead single off the first installation of their joint venture, Make E No Cause Fight, “Yawa” reminded listeners of just what we were missing and left us thirsty for more from these two. They delivered on the EP and, rivalling Olamide and Phyno, don’t stop coming back with joint hits.
1. Wizkid & Duncan Mighty – “Fake Love”
“Soco”, “Kana”, “Nowo“, “FakeLove”, “Energy (Stay Far Away)” after overstated criticisms of his 2017 EP, ‘Sounds From The Other Side’, Wizkid brought it back home, making an undeniable impression on the Nigerian music industry. To be honest, “Kana”, “Energy” and “Fake Love” could easily have filled this top three. But “Fake Love” will always take the cake as the number one pairing of 2018, thanks to Duncan Mighty, the unexpected comeback vet who led this record into its various high ranking chart positions.
2019
Zlatan made an indelible mark on the music industry in 2019. Kicking off the year on Burna Boy’s award-winning “Killin’Dem“, Zlatan went back to team up with previous collaborator, Naira Marley for the tongue-in-cheek “Am I A Yahoo Boy”. The first single brought the Zanku trend, pioneered by Zlatan on “Able God”, into 2019 the mainstream, setting the tone for what the rest of the year would look like. The second single certified that this was the sound that would dominate the year – it was in this sonic atmosphere that newcomer Mojo’s hard-hitting “Chop Life Crew” was primed to thrive.
3. Mojo ft. Prettyboy D-O – “Chop Life Crew”
Released during the Homecoming Easter fanfare, “Chop Life Crew” grew into prominence in the months to come, becoming the song of the summer. Coming in like a thief in the night, Mojo took us to the streets, forcing listeners into more sinister notes as he spread camaraderie, free-spiritedness and confidence over the outstanding Ronehi and Le Mav produced beat. We’re still thanking him for it.
2. Naira Marley ft. Zlatan – “Am I A Yahoo Boy”
With the Chocolate City crew and their adversaries preoccupied with debates over who exactly is the best rapper in Africa, or even just here in Nigeria, Naira Marley was setting the record straight, on the record. Even EFCC couldn’t get enough of this song, it would be an undeniable number 1. if not for that other giant Zlatan feature.
1. Burna Boy ft. Zlatan – “Killin’ Dem”
Name a more suitable number 1., @ us.
2020
The year isn’t over but we’ve heard some incredible collaborations, and they’re all still fresh in our minds, making this ranking the toughest no doubt. From Burna Boy hopping on Buju’s “L’enu” to Tems finally gracing an Odunsi track with her magnanimous vocals, there’s already a strong list of Siamese GOATs to pick from. But off what we’ve heard of this year so far, these three records have more than earned their spots on the podium.
3. Buju & WANI – “Company”
Produced by Higo and HVRRY, this dynamic record pairs Buju and WANI, who both take a distinctly different approach to the song, but come together to produce something truly bewitching. Crowned the Best New Music of the week it was released, “Company” is an infectious song that could move crowds at a concert, when the time comes, and also play softly through your bedroom speakers if you’re in the mood for a chilled atmosphere. That’s the kind of versatility you’d expect to find in a top 3.
2. Cruel Santino ft. Octavian – “End of the Wicked”
His first official single since ‘Mandy & The Jungle’, “End of the Wicked”, named after the Nollywood horror movie, is an introduction to Santi’s latest universe and a clue into what he got up to in the year between the album and this single. The long pause – like the one that appears at the start of the song – was worth it. Bring on the tongue twisting in Santinese, please.
1. Ladipoe ft. Simi – “Know You”
Ladipoe and Simi’s duet over the chorus is legitimately flawless and in itself is enough to put this jam at number one. But “Know You” does a whole lot more. The lyrics are relatable, the music video is adorable and the performances are A1, and earned several weeks at number 1 across many different charts. They’re likely to stay on top of that mountain.
The post-digital age and the advance of streaming may be revolutionising the way in which we listen to music today but it is also redefining the ways in which music is being distributed and marketed to today’s listeners. Gone are the days of artists relying solely on mixtapes and DJ’s, to get word of their new singles or projects out, because there are a plethora of marketing tools which they can now rely on to increase the longevity of a song’s shelf life.
Some of the most common techniques include merchandising, ticket bundle sales, exclusive content, and viral challenges, which could either be in form of freestyle challenges that attract a cash prize or viral dance challenge like those commonly seen on TikTok. These all, in one way or the other, contribute to incentivising single or project sales for an artist – in a functioning society, that is.
Over in Nigeria, however, the absence of a verifiable one-stop-shop for all streams across different DSP platforms means that ascertaining the effect of these techniques on boosting the commercial success of a single or project is more difficult to readily quantify. Regardless, artists from these parts are still known to use one or more of these techniques to their advantage, as we have frequently seen from the world of hip-hop where viral challenges have become a marker to unite different voices and prolong the buzz around a hit song.
Take, for instance, Don Jazzy’s Enigma challenge from #thatyear, undeniably one of the biggest freestyle challenges from these parts in the last decade which caused quite the stir at the time as everyone was gunning to come out victorious. While the “Enigma” challenge had its own twist – the beat was made specifically for the challenge as opposed to being an already released song – it was all anybody could talk (or rap about) as it took over the airwaves and social media. There have been many iterations over the years that have connected a host of artists around the continent.
From Kizz Daniel’s “Fuck You” to Mayorkun’s “Geng” challenge, artists have commercialised on already amped-up hits by allowing more established artists to take the reigns and create some exciting buzz while also allowing newcomers have a space to show their undeniable talent.
Currently, Ladipoe’s #LemmeKnowRemix is the latest challenge making its rounds on social media as the rapper called for fellow artists and fans alike to submit their freestyles to the song’s instrumental, which just got further boosted by a feature from Teni.
Speaking to The NATIVE, Ice Michael, Head Of PR, Mavin Records said:
“Social media platforms are very important for direct fan engagement. Especially in this time during a pandemic, when people are looking for entertainment and tend to spend more time on their social media than normal. With access to the right audience who were willing to engage with Ladipoe, there was a high conversion rate.”
This won’t be the first time Ladipoe has caught the attention of the social media sphere, as just a few months ago, he launched a TikTok challenge for his chart-topper, “Know You” featuring Simi. Beyond the fact that it’s a great song, the interaction with fans no doubt helped the single’s sales, and contributed to the song still remaining in the charts for so long after release. From these two examples, it’s clear that Ladipoe understands the value of connecting with the people consuming his music, and the self-proclaimed Leader of the Revival has found himself a sweet spot.
The rapper himself confirms this saying:
“It’s not like I had an intentional roll out plan. I always had this idea that “Know You” was a conversation, and when I released the song, what stood out to me on TikTok, in particular, was the duet feature. It allowed me to give a template for how I wanted fans to interact with the song, and I’m really glad it worked out.”
Since his call for submissions, many budding artists have thrown their hat in the ring, to flex their lyrical chops. The breadth of responses shows not only that people are listening to Ladipoe, but also how he’s opened up the floor for budding artists to capture the Internet’s attention. This is no new phenomenon, as artists like Rema and Fave have mentioned how virality on social media helped boost their music to the right people, and this suggests that he is actively seeking to pave the way for a new generation.
While these challenges may be good for sniffing out new talent, they are also understated means of elongating the shelf life of a song. For example, Lil Nas X’s monster hit “Old Town Road” first caught on because of social media apps like TikTok, before eventually landing the remix with Billy Ray Cyrus that gave it the #1 spot on the Billboard Top 100 charts for 15 weeks. Here in Nigeria, where there is no cohesive cumulative chart like that of Billboard, the positive effects of challenges like that of Ladipoe’s are even harder to ascertain.
Despite this, Ladipoe’s “Lemme Know Remix” currently sits at #45 on Apple Music worldwide charts and as a new entry, no. #32 on the Turntables airplay charts. Whether these numbers reflect the effect that the current social media challenge has is not easily verifiable, nevertheless, it shows that people are paying attention to Ladipoe and what he’s releasing each time.
In these unprecedented times where we can no longer watch our favourite artists perform, artists are coming up with more inventive ways to capture our attention. Ladipoe is one artist who has consistently shown his determination to deliver at his best, and it’s only a matter of time before we see him paving the way for some of the fresh voices his challenge is attracting, which is in line with his vision to be a beacon of light for the next generation.
We’ve had a great time going through the entries for Ladipoe’s current challenge, and discovering many talented wordsmiths who are floating on the x-produced beat. In light of this, we’ve decided to collate some of the best entries we’ve seen so far and we hope you like them too.
The past few months have been difficult to go through. An ongoing pandemic has forced us to significantly curtail movements and social interactions, at the same time fighting injustices on multiple fronts. Luckily, the one palliative we can rely on is the continued and diverse stream of music that has continued to grace ears all over the continent. In a bid to brighten your mood with the finest African tunes, we’ve looked around to bring you four of the best records at the moment – songs you absolutely need to hear.
We started the week with new releases from Korede Bello, Tiwa Savage, Gogowe, Psycho YP, and many more from around the continent. Today, our mid-week selection covers the latest music releases from Ghanaian rapper, EL Lomi featuring Falz, DJ Tunez x Wizkid, Bey T, WurlD and Sarz, Sammie Ca$h and more. Enjoy.
DJ Tunez – “Cool Me Down” Feat Wizkid
“Cool Me Down” is a follow up to DJ Tunez’s 5-track EP, ‘Love Language Vol. 1’, which was released back in July. Singing “Every other day mi steady wanna dey with you” over the mix of Afropop drums, horn harmonies and percussion produced by P2J, Spax and DJ Tunez, Wizkid’s ability to ride a groove remains his strongest attraction with his enchanting melodies complimenting his raw and streetwise sweet-talking lyrics.
Directed by EIRIK, the accompanying video for “Cool Me Down” plays out like a highlight reel of the StayBoy crew’s life on the road as we see the behind-the-scenes cut for the 2019 Starboy Fest at the 02 Arena in London. We see intimate frames from DJ Tunez and Wizkid practising before a performance, as well as cuts of them on stage with thousands of camera phone wielding fans trying to capture every moment. With each artist on the lineup for the show featuring as cameos in the video for “Cool Me Down”, we expect the Starboy fanfare to translate to a hit record we’d be hearing deep into the year.
EL Lomi – “JJ Rawlings” featuring Falz, Gemini Orleans
Ghanaian rapper, EL Lomi’s latest body of work, ‘Leaks 2’ is filled with militant raps especially with track titles like “Heroes Have No Fun” and “No Peace”, which portrays him as a ruthless emcee ready to go bar for bar against any competition. However, on the standout track, “JJ Rawlings”, he teams up with Falz and Gemini Orleans and reveals a more lighthearted side to himself with his comical bars over the trap beat. Saying “Only thing I love more than women is more women” and embracing his local accent to deliver cocky rap bars over the trap beat, he borrows a leaf from Falz’s humorous side, who also contributes a verse along with Gemini Orleans. Though El Lomi remains as aggressive as ever, the new direction adds more appeal to make “JJ Rawlings” a fun and entertaining listen.
Bey T – “Ndio”
Bey T‘s ability to sing and rap allows her to carve out her own niche, as she releases rap songs with enough mainstream appeal to spearhead a hip-hop revolution in Kenya. She recently released the music video for “Ndio”, her latest single since she debuted ‘Concept’ last year. “Ndio” describes Bey T’s struggles with critics and how she had to hustle before her talent was finally recognised. Though she now has hit songs with over a million views on YouTube, we can still hear Bey T’s ambitious mindset, saying “I’m tryna make a super toast/ I want the bread yeah I want that super loaf”. The recently released music video is directed by BOWPA captures her performing the song against colourful backdrops that match the playful harmonies of the trap beat.
Sammie Ca$h – “Intro” Feat. Ijaya
Sammi Ca$h just released his debut project, ‘Paid Attention’, which positions him as one of the experimental artists going against the grain to make melodic Afro-trap songs, regardless of the general audience’s scepticism. For the opening track, “Intro”, he finds the balance between his hip-hop influences and indigenous Yoruba folk melodies by featuring Ijaya, who sings the spiritual hook in Yoruba; “Olorun lo mo ola(Only God knows tomorrow)”. Apart from setting the inspirational tone for the song, it also helped highlight Sammi Ca$h’s innovative sound as he rapped over the fuji-inspired beat produced by Altims.
Sarz x WurlD – “Focus”
The potency of a Sarz and WulrD’s collaboration was first highlighted in 2018 when they first collaborated on “TROBUL”. The pair have continued to deliver catchy Afropop tunes, teaming up on several other releases and even put out a joint tape, ‘I LOVE GIRLS WITH TROBUL’ last November. “Focus” is one of the tracks from the tape which affirmed their immense chemistry, as WurlD laid down his sultry vocals over the ambient production from Sarz. They just put out the animated video for “Focus” done by MOJO Studio and it shows WurlD’s romantic antics before getting his heartbroken by his muse. It’s a sad, yet, relatable tale which will resonate with anyone who is watching.
toni dada – “Desperado” Feat. Tomi Obanure
For years, Nigerian artists have mined rap’s braggadocious aura to depict their flashy lifestyle, but only a few are as convincing as toni dada’s new single, “Desperado”. His laidback Afropop melodies are primed for the dancefloors as he rides the catchy instrumentals while describing his outlandish lifestyle; “Feels like a movie when I step outside/ see when I move, me no need no bodyguard oh”. Tomi Obanure‘s closing verse infuses rap’s cocksure cadence, as he attempts to win the affection of a love interest with his boastful bars. “Desperado” is only toni dada’s second single, however, his brilliant performance on the song shows he’s ready to collect his trophies.
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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
Introduced to us as Izzy on one of Cruel Santino’s flawless 2018 collaborations, “Icy”, Seki SuperVillain has been on our radar ever since he clued us into his drama-free approach to life: “get the cash then I dash, that’s the plan”. A Dubai resident like Cruel, Seki is not only a frequent collaborator of Santino’s, he’s also a dear friend, and it was the latter that made Seki embark his first ever trip to Lagos in December 2018. Returning a year later, last December, Seki unwittingly embarked upon a festive holiday that would later be revealed to be the most inspiring few weeks on his journey to project number two, ‘TECHDRILL’.
Fully emerging into mainstream consciousness in 2017, Nigeria’s infant alternative music scene has made lengthy strides to become the globally recognised, far-reaching in influence Nigerian sonic revolution. After just three years on the main stage, the Atlé sonosphere – which isn’t a particular sound but rather a liberating mode of production that nurtures a plethora of different musical preferences – has had a palpable impact on our approach to music in Nigeria. The listeners yearn for diversity in a way that so dramatically contrasts the lust for familiarity that celebrated Davido’s four similarly sounding records as back to back hits (which they were). On the other hand, artists are more emboldened to creating the type of music they want to create, with the raging successes of Santi, Lady Donli and the likes scattering any notion that one must conform to a mainstream sound in order to be successful.
What Seki SuperVillain’s proclamation that “it all started [in] Lagos December” tells us is that the Nigerian helmed scene, which Seki is now a bonafide member of, has stretched its limbs of influence beyond our borders, imprinting on any act privileged enough to come within its orbit. Granted, Seki is close comrades with Cruel Santino – the collaborative mastermind who draws talents from all around the world into his creative bubble – and therefore enjoys enviable proximity to the provocative Alté scene, but shuttling between Dubai and the Philippines, Seki SuperVillain boasts a bank of other musical bubbles from which to mine creativity. It does say something that he’s landed on our shores. Seki’s close affiliation with the Alté scene professes its indubitable consequence on the music industry, both at home and, even more remarkably, now detectable in music spheres overseas.
Seki SuperVillain’s self-titled debut body of work featured Scandanavia’s Noah Carter, his Dubai kin, Lowkey Barone and Young Gaby, and only Prettyboy D-O from these parts. ‘TECHDRILL’, on the other hand sees Seki take a deeper dive into the pool of artistic resources governed by the people who juiced him up during his fateful 2019 December in Lagos. Collaborations with a close friend have multiplied into a feature length mixtape where Seki joins forces with the entire Alté universe, speaking to the influential nature of the movement, and forming reason number 1. why we are so excited about ‘TECHDRILL’.
Stepping into the ring with one of the most memorable debut verses, DETO BLACK quickly converted her a loyal following into die-hard rap fans, with her indelible, show-stopping performance on Odunsi (the Engine)’s “body count”. Merely teasing imminent releases ever since, listeners are thirsty for more DETO BLACK, so learning of this ‘TECHDRILL’ feature will no doubt be sufficient enough music to fans’ ears.
“I worked with DETO [BLACK] because, Jesus, she’s too mad, too fucking mad! I just fuck with how she raps.”
Though listeners have only heard her on the one track, DETO BLACK has already made a name for herself within the industry, with insiders who have had the good fortune of hearing her product, raving about its quality. Whilst she’s not quite at $50k for a verse with no album out, a 16 from DETO BLACK is very much a valued commodity, but that doesn’t mean the benevolent bad bitch is stingy with her bars – she’s more than happy to dish them out on a track that deserves it.
“[Seki] just sent me a DM and was like ‘I need you on this’ and I was like bet! The verse came to me really quick cause his bit was already so fire and inspiring.
I’m super excited for ‘TECHDRILL’. Seki is an amazing artist and I think this project is really gonna show how cool and diverse he is. Everything I’ve heard so far is a hit, so yeah, I’m so happy to be a part of it.”
dndSection, Genio, Ugly Moss, JELEEL!, of course Cruel Santino, and the list goes on. On the production front, 1takennando, Genio again, GMK, Higo and Le Mav all play a role on the lengthy project. ‘TECHDRILL’ is essentially a roll call of all our favourite extra-mainstream stars, from the newly emerging rappers right through to the grammy-nominated producers.
“A lot of my inspiration comes from my love of my friends and women I’ve made connections with… and also my obsession with loyalty”
In the imaginative mind of Seki, everyone he meets is a character – anime, of course – and he literally envisions as either super heroes or Super Villains, like himself. Through the lockdown period, enforced rather strictly in Dubai, Seki was denied access to the movie that is his everyday life, so was forced into his mind to create a movie of his own, the soundtrack for which is the forthcoming ‘TECHDRILL’.
4. We’ve heard teasers and we are sold
Back in April, when the leader of the cult(ure), Cruel Santino, finally resurfaced over an Instagram Live after months in hiding, he shared a brief snippet of one of his favourite songs off the SuperVillain’s tape. Then again, on the second instalment of her No Signal radio show, ‘Welcome to Chaos’, DJ Femo also played some TECHDRILL exclusives. As myself and all the Santi fans and radio junkies in attendance of both or either listenings are qualified to testify: TECHDRILL is good.
5. It’s a pandemic baby
Music, like films, TV and books, has been one of the few constants offering us stability during these #unprecedentedtimes. As listeners, we’ve turned to our favourite artists to help us keep the faith, and for musicians, Seki in this instance, the appeal of creating music during this time lies in its cathartic essence, as through this expression he’s been able to work out the confusing feelings and isolated thoughts he’s endured whilst locked down.
“It was one of the hardest periods of my life – mentally, physically – [but] the outcome was positive”
Coming to life after the lockdown was instated in Dubai, apocalyptic fantasies of “the end of time” played a huge role in the making of ‘TECHDRILL’. Influenced by the Drill tendencies that are now dominating UK charts, as well as trap and techno music, ‘TECHDRILL’ melds “a mixture of techno drill, rockdrill , techno trap, rock alone” into an orchestral universe where the end of the world is celebrated with molly raves and indifference.
Dubbing his new sound “MOLLY MUSIQ”, ‘TECHDRILL’ was only ever meant to be one song, but now Seki finds himself struggling to trim down his tape from a whopping 30 tracks in time for a Q4 release. Thankfully, if the rumours are true, we won’t have to wait too long to hear the first snippet of the Super Villain’s TECHDRILL universe. Slated for an early August release, “Like The Wind” should tell you all you need to know about why we’re on the edge of our seats for this one. You don’t have to take our word for it.
Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju
In just about two years of breaking out, and with just a handful of singles and features to her voice, Tems has proven herself to be a truly special talent. In addition to show-stopping features on Odunsi’s “Decided”, Khalid’s “Know Your Worth” and DRB’s “Trouble”, Tems’ only solo release this year has been the soothing “These Days”. While the spaced-out tempo of her musical releases is now characteristic for the singer, we’ve now come to learn that it’s in fact a by-product of her meticulous approach to making music exactly how she wants.
Offering us a peek into her creative process, Tems has just shared “Finding Peace in the Noise”, a new mini-doc in partnership with YouTube Music. In less than three minutes, Tems expatiates on the importance of being in the moment while creating music, noting that tuning out the draining news cycle helps in maintaining focus and ensuring the energy that goes into the music is pure and untainted. “When I’m in the studio or when I’m in a creative zone, my mind has be 100% there, taking things moment for moment, hour for hour. Otherwise, I get stuck” she says in the voiceover that accompanies visuals of her working in the studio.
“Finding Peace in the Noise” emphasises the attention and care Tems puts into her music, briefly but profoundly letting us into her frustrations while creating, as well as her constant determination to make sure she’s putting her best foot forward each time a new song or feature goes live. The mini-doc is a reminder that, even though there’s a lot of anticipation for her debut project, Tems won’t be rushed, but we can be rest assured that whatever she comes up with is representative of her and is of the quality possible.
Watch “Finding Peace in the Noise” here.
Featured Image Credits: YouTube/Tems
Dennis Is Not An Interesting Person. Tweet Your Favourite Playboi Carti Songs At Him @Dennisadepeter
This year has been one of deep collective reflection and brewing revolution for the entire world. As the maltreatment of black people – particularly black women – across the globe, has inspired a wave of political action, so too, has the COVID-19 pandemic forced us to reconsider and reconfigure our status quo. Though there have been many revolutionaries past preaching that the current system is simply not sustainable, it has unfortunately taken the global outbreak to force the people at the top of the food chain to give the system its much-needed reboot.
As MOWALOLA and Odunsi The Engine briefly discussed in our TIME Issue cover story, the fashion industry is experiencing its own shake-up, finally catching up to the standards set by the likes of our 004 cover star. In 2017, following in the footsteps of Burberry (they most likely were inspired by younger, smaller brands) a plethora of fashion houses made the decision to cut back on the number of runway shows they scheduled and to also merge their menswear and womenswear collections. The Italian born Bottega Veneta being amongst the fleet.
Though we still see gendered shows, men and women strutting down the same catwalk is not as rare a sight as it was even just five years ago, which is a huge step in the non-binary direction for the fashion industry. However, with menswear and womenswear labels still proliferating, issues surrounding why gender even still has a place within fashion persists; and that’s the question Bottega Veneta are posing to their clique of multidisciplinary artists in their new short film, MEN.
Featuring a multitude of British creatives, including Nigerian-native Obongjayar, Octavian, Italian dancer Roberto Bolle and producer/songwriter, Tricky, BOTTEGA VENETA: MEN explores the existence of gender boundaries in society, the rules by which we are taught to abide and how these constructs are propagated in fashion. Specifically, through the lens of masculinity, these Men, joined by Neneh Cherry and a young boy Roman, investigate how their identities are expressed through clothes. Speaking about his struggles with cultural assimilation when he first arrived in England from Nigeria, Obongjayar confesses that he was initially lost in himself. Suggesting that finding himself was also reflexive in finding his own personal style, Obongjayar encourages viewers to do the same, by “like finding out what your thing is and then doing it”.
Irish actor, Barry Keoghan tells a similar story of expression through clothing, describing his job of playing different characters with different styles as “somewhere where you can put your pain into, [and] escape from your own reality”, later asserting that vulnerability is the best way to be a man. Meanwhile for Octavian, the non-conformism and progressiveness of fashion is what he considers most important. Revealing his several tattoos, the UK rapper also discusses the bond people with similar style share, a bond that is fortified through other shared interests such as music.
From Britain’s 1970’s Glam Rock wave, to New York’s culture-defining hip-hop movement, music has always been a keen influence on popular fashion and trends, recognises Tricky, and British dancer, Michael Clark, who was very much inspired by punk in his style growing up. Clark – who was told by his ballet teachers that his dressing would be a hindrance to him – found comfort in seeing the defiant dressing proudly rocked by the punk crew. Inspired by their provocative style, it was through punk that Michael Clark realised the value of dressing and being different – something his teachers had failed to appreciate.
In Nigeria, fashion has always been a polarising topic, especially when it pertains to what our musicians wear. From fans’ fixation with Simi’s performance outfits – sometimes seemingly taking the attention over her actual performances for some – to faux concern directed at Odunsi’s Twitter media, it cannot be denied that we consider fashion to be a definitive expression of a person’s inner mind. Similarly, we cannot underestimate how our relating to that musician, and their music, influences fashion trends adopted by the listening (and watching) public. It is no coincidence that streetwear has seen a meteoric rise in Nigeria alongside the growth of the Alté music scene. From VIVENDII and WAFFLESNCREAM, to Off-White and Daily Paper, the brands associated with the scene’s favourite acts have risen to increased prominence. It’s the same reason that gargantuan brands such as Nike retain close ties to the music community through support and collaborations, leading to them becoming one of the foremost sought after sportswear brands on the continent.
Exclusively screening on MUBI – a curated streaming platform that hosts an ever-changing collection of films – BOTTEGA VENETA: MEN is available until August 6 can be streamed in the 190 countries MUBI services. Directed by Tyrone Lebon in collaboration with Daniel Lee, the Central Saint Martins alum who now heads Bottega Veneta (appointed Creative Director in 2018), BOTTEGA VENETA: MEN is a thought-provoking exploration into gendered attributes of fashion. Though it never concludes that menswear shouldn’t exist, the testimonies from the creatives who share their voices are clear: these binaries need to go.
The past few months have been difficult to go through. An ongoing pandemic has forced us to significantly curtail movements and social interactions, at the same time fighting injustices on multiple fronts. Luckily, the one palliative we can rely on is the continued and diverse stream of music that has continued to grace ears all over the continent. In a bid to brighten your mood with the finest African tunes, we’ve looked around to bring you four of the best records at the moment – songs you absolutely need to hear.
Our weekend selection featured new releases from Tolani and Sigag Lauren, as well as DJ Spinall’s, Kranium-assisted single, Kida Kudz’s collaboration with Falz and Joey B, Psycho YP’s riveting new freestyle and much more. To start off the new week, get into these new releases from Korede Bello, Tiwa Savage, Gogowe, Psycho YP, and many more from around the continent. Enjoy.
NSG – “Lupita”
Following the successful release of their debut project ‘ROOTS’ last month, the 6-man music collective from London, NSG are now releasing fitting video treatments for fan favourite singles off the project starting with the 4Play-produced number “Lupita”. With a major emphasis on the song’s theme of black love and black women, the Kevin Hudson-directed video showcases beautiful black women as they enjoy an outdoor summer party with the group, featuring cameos from some of our fave women such as London-based singer Tomi Agape to Youtuber, Nella Rose and Priscilla Anyabu from Love Island 2020.
Tiwa Savage – “Dangerous Love (Ampiano Remix)”
Tiwa Savage is back with the Ampiano-inspired remix to her latest single “Dangerous Love”and if you thought the song couldn’t get any better, then you’re definitely in for a treat. Where most remixes would just include a new verse added along to the original song, the Ampiano remix produced by Dj Ganyani and De Mogul gives off a completely new feel, save for the infectious and familiar hook. ‘Make me feel like the first time/ You’ve been giving me a different vibe’ she sings, against the bouncy new beat which will have you bopping your head through the entire 5 minute run-time.
Korede Bello – “Table for Two”
Mavin’s Korede Bello is back with a new project titled ‘Table for Two’, released three years after his previous project ‘Belloved’. After catching our attention with pre-released singles “Sun Momi” and “Mi Casa”, which became one of the most used songs on Tiktok, the 5-track project is finally here. Korede Bello stays true to his signature loverboy persona, and it’s on the title track “Table for Two” that he really shines the most. ‘There’s nobody like you/I would do anything you say make I do’ he sings amorously, declaring his undying affection for a love interest who he is committed to despite there being 8 billion other people in the world.
Psycho YP & DJT1Z – “FOOLiSH (OUTSTANDiNG DiNNER)
If there’s one thing about Psycho YP, he definitely works hard. Every other week, he has a new feature or freestyle out, constantly keeping the streets feed with his off-the-cuff raps and it’s why we love him so much.
After wowing us with a new freestyle last Friday, the talented rapper is back with a new video for his single with DJT1Z “FOOLiSH (OUTSTANDiNG DiNNER)”. In the new video by untitled productions, Psycho YP delivers his braggadocious raps in a dark room, as he is egged on by his posse. The sinister air of the room along with his sharp-tongued raps adds to the seriousness of the song, and to the unfortunate person he’s addressing: ‘Pay Up [and ]Don’t be Foolish’.
Gogowé – “Gentle Girl”
As far as millennials and Gen Zers go, this generation of Nigerian women are fiercely independent and unafraid to say what they want regardless of what society says. To commemorate her birthday, singer/songwriter Gogowé has just released a new single titled “Gentle Girl” which sees her distancing herself from the ‘gentle’ tag and establishing herself as a far cry from the decent ‘lady’ society wishes to make of women.
‘I’m not that kind of angel/Me I get e temper/And I dey live my life’ she sings enthusiastically to a love interest, as she reaffirms that she is unwilling to conform to social standards of how a woman should act. Gone are the days of constricting personas, a woman can be whatever she wants to be so get with it, or move out the way.
Fasina and Tim Lyre – “88 Bpm”
After sharing their latest single “Just Linked” featuring MOJO and LK a few weeks back, rapper/singer Fasina and rapper/producer, Tim Lyre are back with a new 3-track project titled ‘3 Strains’. The project which draws inspiration from their marijuana-induced studio sessions is a fun, bouncy offering to kickstart your week, starting with the opener “88 Bpm”.
‘Cali in the kush, this ain’t for lightweight son/Get the fuck out of my way, you’re in my way mate’ raps Fasina in short, flashy sentences as he adopts jaded detachment in his tone. He’s joined by Tim Lyre who raps, ‘I go ballistic/check that statistic’ as he raps about his talented ability to lay down a beat and also rap circles around it. This is exactly the kinetic bundle of oomph needed to convince you to visit their 3-track offering.
OluwaJBeats – “Owner” featuring Ade Josh, Charlie Mase & Keys the Prince
As far as things go, this year’s summer is pretty much cancelled and the phrase “all dressed up with nowhere to go” is especially relevant but while we’re all spending more time indoors than ever before, we’re constantly entertained by the slew of new music coming out. Afroswing producer, OluwaJBeats knows this all too well as he taps into the sounds of Ade Josh, Charlie Mase, and Keys the Prince for a new amped-up party jam titled “Owner” that’s uniquely primed for DJ sets and air plays.
Directed by Scilla Owusu, the video for “Owner” sees all three artists rolling up to an all-white mansion, which we find out is owned by a group of female friends. They deliver their verses while having fun out at the party hosted by the girls. Speaking about the video, Scilla shared that it was important to depict the women as homeowners, as they are oftentimes represented as extras in music videos when that is not always the case.
Featured image credits/Instagram
Tami is uninterested in what you have to say. Don’t tweet at her @tamimak_
In music—African music, to be more specific—the past always serves as a veritable source of inspiration for the present. Whether it’s Odunsi revamping Nigerian disco-funk from the ‘80s, or Worlasi taking sonic and spiritual cues from Ghanaian ‘60s & ‘70s folk for his last album, ‘Worla (the Man & the God)’, or Amapiano repurposing the distinct percussive elements of Bacardi folk, a significant portion of contemporary African music clearly has strong ties to past styles of music that defined previous eras.
Projecting vivid influences from Igbo highlife of the ‘50s & ‘60s, the Cavemen, made up of bassist Kingsley Okorie and drummer Benjamin James, have embraced a nostalgia-inspired narrative and approach to their music. Last year, the sibling duo shot into a higher level of visibility following integral contributions to Lady Donli’s excellent debut album, ‘Enjoy Your Life’, and their cult classic debut single, “Osondu”. Those releases showed how they used older inspirations as the framing device for their unique agenda: “We’re bringing vintage highlife back, but we’re also adding our elements to it—we’re making highlife futuristic,” the pair explained to us a while back.
“Anita”, the latest single in the lead up to their upcoming debut LP, ‘ROOTS’, consolidates on the Cavemen’s dedication to be much more than revivalists. In trademark fashion, the nod to vintage highlife is clear, but what makes the song truly special is that it sounds concurrently of-the-moment and instantly timeless.
https://www.instagram.com/p/CCk6JcODG3n/
While their style of music is considerably niche within the framework of modern Afropop, the Cavemen generally make music that’s really accessible and downright enjoyable. On “Anita”, though, they ramp things up a bit on the visceral side, putting together their own version of a club-ready song. The rustic elements and tight musicianship that accompanied previously released songs remain a fixture, with knotty guitar motifs, jangling shekere riffs and sizzling drum rolls combining to form the wickedly groovy sonic backbone. The catchy part comes with the chorus-driven song structure, filled with easily memorable lyrics and irresistible melodies.
“Anita eh, you go killi somebody”, Benjamin hysterically howls in his helium-pitched voice, singing a familiar version of words we’ve heard so many times in afropop, but he channels those sentiments in a way that borders on true devotion to the song’s titular character. Where previous singles saw them ceding space in front of the mic to one another, Kingsley delivers backing yet prominent vocals on “Anita”, adding a higher level of synergy to what we’re used to hearing from the Cavemen.
It’s difficult to tell if this is the Cavemen at their absolute best, since they seem to set the bar higher for themselves with each new song—‘ROOTS’ will be ideal gauge for that. But for what it is, “Anita” is a near impeccable song that underlines the Cavemen’s uniqueness, as well as the endless possibilities of their chosen sound.
Listen to “Anita” here.
Featured Image Credits: Instagram/the.cavemen
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Gearing up for the release of his forthcoming EP, ‘Vibes & Insha Allah’ – which arrives on Wednesday – Reminisce kicked off the proceedings in the early hours of Sunday morning, releasing the Fireboy-assisted, Sarz-produced, “Ogaranya”.
Fucked around with Sarz /TMXO/Krizbeats and a couple” The Sarz Academy” kids (Aivert & LooneyTunes) and came up with this. #VibesAndInshaAllah#July29th
— #VIBES & INSHA ALLAH. #JULY29TH (@IamReminisce) July 22, 2020
Judiciously following the instruction to “light e” (light it up), Fireboy takes the first step onto Sarz’s simple, yet effective production, entering the beat drop with some pretty braggadocio proclamations that “there’s nobody like me, there’s nobody like me, they call me Ogaranya”. An Ibo locution to indicate the rich, Reminisce is similarly as moneyed up through his verse, rapping about his generosity before leading into a sung pre-chorus where he describes his wealthy status as the perfect match for a well-endowed figured woman who’s caught his attention.
Stalked by Fireboy’s adlibs throughout his takes, Reminisce’s materialistic verses live up to the strong standard we’ve come to expect of the rapper. With clever lyricism, timeless references and a tasteful flow, if “Ogaranya” is any indication of what the EP will sound like, Reminisce has got Wednesday’s release in the bag.
Providing the up-beat groove that sets the tone for the entire record, Sarz production calls for the singer and rapper to take command of the song. It’s not difficult for a Sarz-produced beat to claim the spotlight on a song, but on “Ogaranya” everyone shines in equal measure. Regardless, Sarz doesn’t resist the urge to show off entirely, as he mixes and manipulates the vocals to create a catchy slew of gibberish on the song’s outro.
Listen to “Ogaranya” below, and pre-order Vibes & Insha Allah’ here.
Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju
