4 Takeaways from Akwaeke Emezi’s new book, ‘The Death of Vivek Oji’

Posted on by The Native

If you’re yet to read ‘The Death of Vivek Oji’, the third book by Nigerian-American author Akwaeke Emezi, then you need to stop what you’re doing and get a copy right away. Hopefully, I can make a compelling case about why, for me, it was an unforgettable read where the lives of Vivek and the other characters in his world extend far beyond the pages I read. Their stories were a haunting reminder of the injustices that many queer Nigerians face daily for simply just existing in this world, but more than just a reminder of death, the book is an exploration of life, loyalty, becoming, love and finding your chosen family. If that still hasn’t got you convinced, might I also add the fact that the gripping novel became a New York Times bestseller within weeks of its release, marking a first for the talented author who completely deserves all the praise they are getting.

Exploring queerness in present-day Nigeria, Akwaeke’s third offering is storytelling at its finest. Through flashbacks and perspective-shifting narration, the life (and death) of the brilliant Vivek Oji and the people he loved is unveiled to readers. These characters can’t save Vivek from what readers know is inevitable, but through their narration, we see the story of a young man who lived his life fully with his chosen family, who loved and lived privately, and who was unwilling to let his background or his born-gender stop him from truly feeling alive.

For the sake of giving too much away–you absolutely must pick up a copy right away, here were my five takeaways while reading the book last week (I’m in love with Vivek so feel free to discuss with me @tamimak_)

 

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Death is certain but so is life.

From the moment you pick up ‘The Death of Vivek Oji’, you know it ends in the eventual death of the protagonist. Excluding the obvious hint in its title, the first chapter of the book contains one haunting sentence, ‘They burned down the market on the day Vivek Oji died’. The chilling sentence is a firm reminder that the protagonist is no longer with us, opening readers up to a sinister mystery of uncovering his death. In a year of seismic change and discomfort, everything we knew and clung to has been called into question, while we continue to lose lives to the scourge of the ongoing global health crisis, we’re also coming to terms with the fact that people pass on every day for a myriad of other reasons. Reading this novel while grappling with the loss of death in my personal life gave me some reassurance and served as a reminder that death is not ultimately as final as we think. Even in death, there is life because just like Vivek, his life is eulogised by those he left behind, who tells his story full of life and love.

Queer lives are not up for bargain.

In a recent interview, Emezi said, ‘‘I’m writing for people like Vivek. I don’t want to centre the people who are doing the harm” and while reading the most intriguing moments were witnessing the fervour and life that resided within Vivek. He was unabashedly himself with his chosen family that consisted of his close female friends and his cousin, Osita. Despite living in a world that didn’t accept him, Vivek was firm and certain in who he was. In this book, queer lives of young Nigerians are told not as an accessory to the main plot but as a manifestation of everything that gave Vivek comfort and security. Reading a book like ‘The Death of Vivek Oji’ reminds you of the social attitudes towards the LGBTQIA+ community in West Africa, but it also opens you up to a private world where they all live and love without fear and hesitation. It’s such a beautiful story, and I truly believe every queer Nigerian should read it.

Our ancestors are with us always.

After exploring Igbo spirituality and ogbanjes in her debut book Freshwater, Akwaeke’s focus shifts towards Igbo spirituality and the idea of reincarnation. Here, death is not an end but rather a beginning of new life.  A part of me actually wishes Akwaeke named this book, the death of Nnemdi Oji, the name that should have been given to Vivek due to the links between his birth and the death of his paternal grandmother, Nnemdi. Through Vivek, Emezi explores the idea of reincarnation which is not accepted because of the gender assigned by the parents at birth and it’s interesting to see her take on how this plays out and how it bleeds into all aspects of Vivek’s life.

The unwavering community of safety and support women provide.

Vivek’s mother is part of the Niger wives, a group of foreign women who married Nigerian husbands and relocated to the country to raise their children and support their husbands. Though these women are friends solely based on their husbands, their periodic meetings spur the most unlikely friendship in their children, most of whom are girls. When Vivek is teased and taunted at home for wearing eyeliner or growing his hair, he hides away in the homes of close friends, Juju, and the twins, Olunne and Somto. They become part of his chosen family and with them, he can be Nnedi and live free form judgment. When Vivek passes away, they become the anchor through which his parents learn about their child – not as Vivek, who they never seemed to understand, but as Nnedi, the person she truly was. Reading about Vivek’s friendship with these women left me feeling safe and reminded me of my own community of best friends and support systems who are always there for me unapologetically.

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

ICYMI: 5 Books by African authors we’re excited to read this year

Songs of the day: New music from L.A.X, Larry Gaaga and Joeboy, DJ Kaywise, Mayorkun, Naira Marley and Zlatan and more

Posted on by The Native

Music has continued to sustain our sense of community as we all navigate the chaos of the world around us. Artists have kept the party going with new relatable songs that helps us remember the good old days (before the pandemic), dream of a better tomorrow, or just enjoy the present moment. Because we know the volume can be overwhelming sometimes, we’ve decided to highlight the best songs released from around the world, thrice a week, in a bid to put that extra pep in your steps as you go through the rest of the year.

We set the ball rolling for this week with new releases from Barry Jhay, Seyi Shay, Zlatan, Ycee and Small Doctor, Solana and Joeboy, and Mr Eazi and King Promise. For our mid-week curation, we have new music from L.A.X, Larry Gaga, and Joeboy, NYC-based Afropop singer, Shirazee, Rexxie, Zlatan and LadiPoe, DJ Kaywise, Mayorkun, Naira Marley and Zlatan. Enjoy.

L.A.X – “Lose My Mind”

Being alone in quarantine is enough to drive anyone crazy, when you add the yearning for a lover into the mix, you get inspired to write a song titled “Lose My Mind”. “Lose My Mind” details L.A.X’s struggle with being apart from his love interest. Singing “Girl I miss our vibe/ When this is all over/ Want to make you my wife” over the piano-led beat, produced by Clemzy, L.A.X nails a familiar mood for lovers who have had to endure the pandemic-induced isolation from their significant others.The mellow harmonies and L.A.X’s romantic lyrics are primed to soundtrack wedding receptions but given his recent history as an unfaithful lover, we wonder if he’s ready to make that commitment.

Thankfully, the video directed by Ahmed Mosh isn’t set at a wedding. Rather, it shows L.A.X and his muse speaking over the phone, with clips of them sharing intimate moments together sprinkled into the mix. When they celebrate the news that the lockdown in Lagos has been lifted at the end of the video, there’s a sense that things will just go back to normal, unlike the future the song depicts.

Larry Gaaga – “Slow Burner” Feat. Joeboy

Entering the foreground of the music industry last year, Larry Gaaga has continued to partner with A-list artists to deliver dance-driven songs for parties. For his new single, “Slow Burner”, he sets asides his reputation for working with legacy artists like Flavour, Wande Coal, Sarkodie, and others, and teams up with Joeboy who has to prove that the younger generation also know how to party. “Slow Burner” highlights the appeal of dance floor romance with its sultry lyrics and catchy Afropop instrumentals that entice listeners to move. Over the groovy Afropop harmonies that have become Joeboy’s bread and butter, he describes the sexual tension between himself and his dance partner. “Me I just want to dance and romance your body/ You set the dance on fire and you last long; you’re like a slow burner”, he sings, enunciating every word with surgical precision to capture the sensual mood on dance floors.

The video, directed by Unlimited LA, highlights the song’s raunchy themes as we see Joeboy and his muse getting intimate while we also watch Larry Gaaga receiving, what we can only assume is, a handjob. Joeboy is also seen performing with a live band but given the after-party activity the song hints at, it’s hard to imagine that performing his song is the highlight of his night.

Shirazee – “Zaddy”

Lots of diaspora African artists have attempted to channel their indigenous influences to make contemporary pop songs, but none have captured the motif quite like Shirazee. His authentic Nigerian accent on songs like “JUJU”, featuring SAINt JHN underline his commitment to amplifying black and African voices while marrying modern pop sounds with his roots. For his latest single, “Zaddy”, he interpolates Amber’s 1999 Eurodance hit song, “Sexual (Li Da Di)” for a groovy and sexy song where he expresses his romantic feelings for his muse. Singing “Just meet on the northside/ pull me over closer at the rendezvous” over the smooth disco bassline, “Zaddy” is the type of song you put on while preparing for a date. The laidback instrumentals set a pleasant mood that can guide listeners while they get dressed, wear makeup, or even sit through traffic on the way to their date.

“Zaddy” is the first track from the Benin-raised artist’s coming tape, ‘Lost’, which is expected to drop before the end of the year. He spoke with NATIVE saying, “Benin is the source of a lot of things that it doesn’t get credit for. You can hear a lot of Benin’s influence on Haitian and Brazilian culture. I don’t think people understand that, so I want to make sure that I reconnect the dots.” We can’t wait to hear the rest of the tape, which even promises a feature with South African singer, Busiswa.

Rexxie – “Opor Remix” Feat. Zlatan, LadiPoe

Rexxie became the official street-hop producer after helping produce several hit songs for Zlatan and Naira Marley. His aptly titled debut project, ‘Afro-Street’ offered the different sonic palettes of the sound and also highlighted its groovy appeal with different dancefloor-driven tracks. The producer just updated one of the standout tracks, Zlatan-assisted “Opor” with a remix that features a new verse from LadiPoe. The original Zanku beat and Zlatan’s energetic chorus and verse are retained on the remix as LadiPoe shows his adaptable flow by aligning with the upbeat instrumentals to deliver socially conscious bars and cocky brags; “Fuck all man who hate on black lives/ Only Whitehouse we know, e dey Yaba.”

Given the original song’s theme of celebrating abundance, LadiPoe’s anti-hate message comes across a bit preachy. The bouncy beat keeps the cheerful ambiance going and ‘Poe eventually gets into his party-talk bag with brags about sliding into women’s DMs and leaving them on read. “Opor Remix” shows LadiPoe’s willingness to expand the scope of his music and also shows the depth of Rexxie’s phonebook. It has built our anticipation of more unique collaborations to come from both musicians.

DJ Kaywise – “What Type Of Dance” Feat. Mayorkun, Naira Marley, Zlatan

Word on the street is the Zanku dance wave is no longer in fashion. This leaves room for a new dance to take over and DJ Kaywise has released a new single that asks the question that’s on everyone’s mind; What type 0f dance will we be doing next? The DJ titles his new single, “What Type of Dance” and it features Mayorkun, Naira Marley, and Zlatan who are all renowned dance trend experts. “What Type of Dance” was produced by Fresh who sets a groovy backdrop for the artists to deliver verses that explain why their favourite dance move is the sensual type.

While the beat for “What Type of Dance” is certainly designed for dance floors, Mayorkun and Naira Marley are more concerned with making love than dancing. For Mayorkun’s verse, he confessed that he’d rather spend his time with his lover than performing shows while Naira Marley spends his time trying to convince his love interest to have sex with him without missing a step with the beat. Even Zlatan’s closing verse doesn’t give an answer to what type 0f dance, but rather expresses that he isn’t picky. His verse encourages listeners to get into the groove as he ran through a list of popular dance moves like Galala, Azonto, Gbeku, and his own Zanku dance.

With none of these Afropop tastemakers deciding on a type f dance, “What Type of Dance” seems to suggest that the type of dance doesn’t matter as long as the party mood is set. The video Dammy Twitch directed doesn’t offer any answers either as all we see is DJ Kaywise partying with the featured artists and a few cameos at a studio set.

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

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

Jungle Entertainment Ventures & Free Me Digital pull music from Boomplay Music

Posted on by The Native

Jungle Entertainment Ventures and Free Me Digital, music distributors for many of our favourite musicians from Falz and Adekunle Gold to Ajebutter 22 and P Square have recently pulled their entire music catalogue from Boomplay Music. In a recent interview, General Manager of Boomplay Nigeria, Dele Kadiri, confirmed that as of January 2020, 80% of Boomplay Music’s 86 million user catalogue are Africans. In this interview, he also disclosed that the app has consistently ranked as the number 1 DSP in Africa for a while now, due to the pre-installation of the app on the TECNO Boom J7 music phone.

According to Canalys; a global technology market analysis firm, Tecno, itel and Infinix smartphones are in number 2, 3 and 5 positions respectively in a list of Africa’s top smartphone vendors. Given this, with Boomplay as the default music player on these smartphones, the streaming app saw a massive surge with these phone users.

With these seemingly large numbers, one would assume that there will be a symbiotic relationship between the streaming platform and the artists whose music they house, however, according to David Evans, CEO of Jungle Entertainment, this appears to not be the case at all. Earlier today, Evans announced that his distribution company will be removing their entire catalogue from the DSP in an Instagram Story, claiming that ‘the Chinese company with no Nigerian representation on their board has exploited the Nigerian music industry for long enough’

Speaking to The NATIVE, Evans said:

“Boomplay doesn’t provide any value for the music industry. They don’t have any advertising so they’re not getting more users, they also have the lowest per-stream rate around here. We’ve asked them to address some of these issues but they don’t seem to want to budge.

 They use our artists’ popularity and numbers to make themselves look good, but they don’t pay us or offer us anything that supports the industry.”

In April 2019, Tech Point reported that Boomplay recently inked a distribution deal with the Universal Music Group, which enabled them to licence the label’s catalogue for Boomplay’s multiple markets within Africa; Nigeria, Ghana, Kenya, Tanzania, Rwanda, Uganda and Zambia. In addition, they also recently raised $20 million to develop their presence in Africa, in a Series A funding round, which was led by Maison Capital and Seas Capital.

These all make up what fuelled Evans’ decision to pull Jungle Entertainment’s music from the streaming site, as he tells The NATIVE that the distribution company hasn’t been paid ‘a single dime since Boomplay’s inception’. 

He continues:

We produce thousands of songs, hundreds of music video which cost us nothing less than 1 billion Naira altogether a year. If all the music distributors came together to actually calculate how much we’re spending, we can’t have foreigners just come and take this content, put it on their app which they have raised money to operate from investors. Not a single dollar has gone towards the advancement of the music industry and speaking for the music industry and for myself, it’s not acceptable. It’s almost like slavery.

For Evans, he doesn’t mind losing out on monetary gain as long as struggling artists whose work is being used are getting support in some form for their music. He relays that during the pandemic, Jungle Entertainment has received additional support from other music streaming sites with money that had been raised from their governments, yet, haven’t even received any royalties from Boomplay since they set up in Nigeria.

In his Instagram story earlier today, he confirmed that his move to remove Jungle Venture’s entire music catalogue was supported by Michael Ugwu, CEO of Free Me Entertainment, and Bugo Arinze of MAD Solutions. If all music distributors come together to remove their music from the DSP, it places other streaming platforms such as Audiomack who have set up in Nigeria with the aim to promote the best music out of the continent in a unique position.

*This story is developing 

The NATIVE has reached out to Boomplay for comment 

[Featured Image Credits Boomplay]

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The potential significance of Audiomack in Nigeria

Dive into the ‘NeoVicious’ world of OG Caesar

Posted on by The Native

You can’t stop OG Caesar. This is the first lesson we learn upon entering his angsty realm of the emo-rap trip, ‘NeoVicious‘. OG Caesar knows he’s great, and his sophomore body of work is designed to prove it. Concocting rousing beats for himself – alongside peers, Honorr and Monty Monello – whilst tapping into his painful personal experiences and real-time emotions, OG Caesar is equipped with all the right tools to deliver a meaningful, crowd-catching project, and he does just that.

19-years-old, OG Caesar hasn’t seen much of life’s trials – he knows that, “I ain’t been in the streets but I know about pain that shit familiar to me” – but he has felt pain, and it is this feeling that he parades across the psychedelic production (“Important” plays much like A$AP Rocky’s drug-induced “L$D”) that makes the fresher the relatable wordsmith he receives praise for being. Whether he’s avoiding love because of a bruised ego on “40 Below” or attempting to flip his mistakes into millions (with the incredible line, “I done made mistakes now I’m trying make some millions either way I’m making Ms”) on “Resident Evil”, OG Caesar’s plight is one that can resonate with listeners across the board – a useful quality to be able to wield on one’s early project.

The contemporary Caesar is also pretty versatile. Bringing sexy to his vulgar bars on the intro, “Reasonable Doubt” or the hard-hitting “Resident Evil“, OG Caesar ends his six tracks with a mature message to his peers. Singing about how he’s pulling his socks up and getting to work to make it, encouraging his buddies to do so too, Caesar admonishes the easy route a life of crime can offer in securing the bag.“Birkin” is an excellent outro that offers his audience a chance to reflect as we bop our heads in both enjoyment and manifestation of a Birkin for our mothers too. Ultimately, “Birkin” is a solid tune that flaunts Caesar’s skills as a producer, a rapper and a lyrically adept thinker – a fitting conclusion to this triumphant EP.

Take ‘NeoVicious‘ for a spin below:

Image Credits: Ayokunle Odunsi

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

ICYMI: LERIQ, TE;Z, SKREAD & REXXIE TALK ‘TWICE AS TALL’

LeriQ, Telz, Skread & Rexxie talk ‘Twice As Tall’

Posted on by The Native

The production on ‘Twice As Tall’ is the very first commendation listeners have to give Billboard 200’s spot 54, as Pat Boone’s rendition of the Journey To The Centre Of The Earth soundtrack number, “Twice As Tall” is honoured to introduce what will instantaneously become Burna Boy’s most successful body of work. Convoking a slew of talented producers, from hip-hop legends Timbaland and Mike Dean to local hero Rexxie, Burna Boy pays close attention to the beatsmiths who are to provide the instrumental grooves that will accompany his versatile performance through the project. The opening of the album makes that clear, before anything else.

Just as Boone is reaching into his chest to pull out the spritely pre-hook of “Twice As Tall”, the 1959 classic moodily bleeds into the futurist production that underscores Burna Boy’s retrospective meditations on the times were he “couldn’t level up”. Produced by a village, “Level Up (Twice As Tall)” is a sonically sprawling track, with its theatre-school introduction complemented by electronic musings that morph into drawn out chords and soft keys as Youssou N’Dour delivers his uplifting hook, before returning to Boone’s rhyme, reverberated underneath a deep bass heartbeat.

This is the point at which Burna Boy discusses his infamous Grammy L. Though only two minutes of the album have played, by this point, Burna Boy is already reminding us of that disheartening robbery which unified the country and our growing allies all over the world. At his second verse of the whole album, we’re already magnetised, already roused, already swayed enough to once again bubble up with disappointment and rage levied at the Recording Academy, because, from the little we’ve heard so far, this is a Grammy award-winning artist. And as ‘Twice As Tall‘ progresses, Burna Boy continues to prove his worth over and over again, with the help, of course, of the producers he’s meticulously sought out to realise his monumental vision for this giant middle finger.

“Burna told me ‘we have to make something monumental’ and we built on that,” says LeriQ – long-time collaborator of Burna Boy’s whose production presence on ‘Twice As Tall’ was one of the most anticipated features in the immediate run-up to the album. LeriQ and Burna Boy have been behind many a hit, populating dance floors and soundtracking memories for almost a decade now. First appearing together in 2011, on ‘Burn Identity’ and ‘Burn Notice’ – Burna Boy’s introductory mixtapes before his celestial debut, ‘L.I.F.E’ (exclusively produced by LeriQ) – Burna Boy and LeriQ became one of those infamous producer-artist duos, whose collaborations immediately pique public interest. As Burna has risen through the ranks, scoring beats from renowned British beatsmith, Jae5 (“Sekkle Down”), or compiling a project with Los Angeles Electronic duo, DJDS, fans from his early days had pretty much given up on the idea of a full-bodied reunion from the early Aristokrats. With three credits ‘Twice As Tall’ and a reassuring message for fans to “definitely expect more from us”, it looks like Burna and LeriQ heard our cries, faint as they may have been growing.

“We’ve been missed. The listeners wanted their minds blown, so I did [that].” LeriQ tells NATIVE, appreciating our thirst for the unforgettably good duo that brought #OutsideLife highlights such as “Run My Race”, “Tonight”, and “Like To Party”. Building on their wealth of experience together, LeriQ was short of nothing when it came to what sounds he would bring to Burna’s latest.

“I went back, tapped into our roots and took our roots international. Port Harcourt is and always will be a source of inspiration for us – I wanted to bring the listeners home.”

And bring us home he did. Credited on “Way Too Big”, “No Fit Vex”, and “Monsters You Made”, on the latter track in particular, LeriQ and Burna Boy carry the torch home. On “Monsters You Made”, which is gearing up for a single promotion, Burna Boy returns to his socio-political impulses that he’s often praised for, despite the fact that he mostly shies away from the depths of political topics (probably for the best). Narrating how governments all over the world have either failed their own people or brought turbulence to the shores of other nations, Burna Boy touches upon the dismal state of affairs in he and LeriQ’s home of Rivers State. Plagued with environmental degradation brought about predominantly by the oil industry, who thanks the region’s natural resources with unregulated gas flaring and occasional oil spills, the great State of Rivers has long been the concern of activists, as they fear, not only for the environment, but for the humans within it, whose struggles in an already trying country are compounded with these avoidable environmental wrongdoings that affect their fishing and farming livelihoods as well as human health. When Burna Boy sings, “I’ve seen the sky turn to grey/It took the light from the day”, interpolating Michael Jackson’s narrative flow on “Dirty Diana”’s pre-chorus, he is joining the ranks of outraged Nigerians speaking up against the unruly gas flaring, that pollutes the air with an omnipresent choking soot.

Following Burna Boy’s tirade with the familiar anarchist progressions of “Dirty Diana”’s bass guitar, LeriQ weaves a contemporary pop transition into Chris Martins’ chorus, stripping back the song’s moody ambience and replacing it with a more airy atmosphere, subtly coloured with a spritely reggae-like bounce. Quietening down the production for Ghanaian author, Ama Ata Aidoo’s sampled outro, LeriQ finishes the piece in style, drawing out his ascending notes to set a contemplative mood that encourages listeners to meditate on the academic’s words.

The vibe doesn’t stay solemn for long, however. Burna and LeriQ’s final reunion on the album is followed up in contrasting flair by the cocksure, “Wetin Dey Sup” – its upbeat production courtesy of “Wonderful” producer, Telz. Narrating the making of the (potential) hit, Telz shares with The NATIVE, “When we made “Wetin Dey Sup”, he was just vibing. I was in the other room, he called me and said to hear this. He was vibing, and I told him “bro chill let me record it,” I gave him my phone and he was recording it. He was like, “what do you think?”. I said, “oh mad o” let me do something on it, and that was how we did “Wetin Dey Sup” I still have the voice note.”

When you hear the blaring horns echoing Burna Boy’s interrogation, “wetin dey sup?” on the chorus, the production process of vocals first, beat later, becomes entirely obvious. Burna Boy is a hands-on artists – according to Telz and audible through his self-defined afro-fusion sound that tends to ring distinctly Burna Boy regardless of which producer has a hand in it. Shuttling back and forth with Telz, pitching ideas to the producer, petitioning changes in certain aspects of his production, it’s Burna Boy’s attentive approach combined with his welcoming attitude to criticism, that Telz found most inspiring about working with the African Giant.

“He has given me so much confidence, in the sense that everyone knows he’s the biggest artist in Africa, [but] we are working, and I’m correcting him. If something doesn’t sound right, he can ask me, or I’ll just tell him that I think you should change this and he listens to me.”

Skread too, who produces our top pick of the album, “23” mirrors Telz’s sentiments, telling us, “it’s always inspiring also to meet big artists like Burna who stays down to earth, easy to talk to and curious about people sitting in the room.” When asked the same question, LeriQ cited his co-production with Mike Dean – credited alongside Timbaland, Diddy and LeriQ of course on “Way Too Big” – as the most inspiring point of his whole experience contributing to ‘Twice As Tall’. Though Telz’s “Naught by Nature” production also rubbed shoulders with the greats (Diddy, Mario Winans and ‘90s rap icons Naughty by Nature themselves) he throughout his responses reiterates that working with Burna Boy was his highlight of the journey, sharing that “he’s the best person I’ve ever worked with without a doubt”. Thanking Burna Boy for bestowing upon him a confidence that he can work with anybody, from here on out, and enlightening his sound, Telz maintains that he too has levelled up, “what I’m making now is not what I was making two to three months ago because I know that this is a different ball game.”

Even when Telz played the wrong beat for Burna Boy, the adaptable fusion artist reassured him that it was the exact sound he was after, Telz recalls “he was looking for carnival sounds or something you could play in carnivals that will get people happy, something joyful” – which we find just that on “Naughty By Nature”. Burna Boy’s “Jamboree” interpolation is clear through his playful chorus, ending in the cheeky nod, “I be naughty by nature, I be gang-gang”, but Telz does something magical with his production of this homage track. With Burna Boy having already sampled the iconic late ‘90s bop (“Collateral Damage”), pressure was on Telz to deliver a unique, yet equally as bewitching record for this project; he didn’t disappoint. Borrowing from Naughty By Nature’s original bounce, Telz smoothly infuses the “Jamboree” with a hyperactive percussion that sounds like a coalition between bongo and djembe drums, habitual of the mainstream sounds of the region from which Burn Boy first rose.

To follow Telz’s percussive African-themed outro, is Rexxie’s streets-inclined production on his second and final track on the project, “Comma”. Distinctive beyond just his infamous tag, “yo Rexxie pon this one” Rexxie’s signature sounds, that scored Naira Marley’s historic ascent to fame last year, is described by the producer as “Afrostreets”, a blend of mainstream Afropop production and more gritty sensibilities that credits its origin or influence to the streets. “BurnaBoy called me and made me understand he’s a big fan of my sound but wanted the signature Rexxie sound on a whole different vibe,“ Rexxie types of his involvement in this project.

Their previous work, namely Zlatan Ibile’s “Gbeku”, wasn’t a Burna Boy original, but for his own album, Rexxie excitedly explains that Burna Boy brought more attention and more passion to “Bebo”, “Comma” and the other songs that “are way better”, currently on lock and key in the vaults. Much like Telz, seeing Burna Boy create at his peak, with his full weight behind the records inspired Rexxie and helped him too level up – ultimately for Rexxie:

“Working with Burna Boy improved my understanding of how to reason with my inner self. Your inner self always has something to tell you at every situation, it helped my music discernment.”

“For a producer having an artist who catches the emotion you tried to put in your music, and who’s able to bring that much musicality, soul and vibe to it, going even beyond what you expected, it’s an incredible feeling.”

So says the mastermind behind the clear standout, “23”, Skread. A collaboration originally intended for Skread’s own project, when Burna Boy heard “23”, with its deep piano chords reminiscent of Burna Boy’s magnum opus, “Ye” – a song Skread admits to being a fan of –  he resonated so deeply with the contemplative production and penned a track so deep that Skread couldn’t but offer it up for ‘Twice As Tall’. In fact “it’s an honour” for the French producer to be included on the ‘African Giant’ follow-up that has clenched the global gaze, refocussing the spotlight on everyone involved on the career-defining body of work. Recorded during one of their few recording sessions in Paris, “23” is a melodic four minutes, with a simple, barely there beat, brought to life by Burna Boy’s flexible vocalising and polyphonic harmonising. On his changeable production, Skread does an excellent job of replicating a typical afropop drum pattern, and without prior tracklist knowledge you’d likely think he was from our ends. Speaking of his experience with “your favourite artist’s favourite artist”, Skread praises Burna’s versatility and musical adeptness, noting in particular his ability “to catch crazy vibes instantly on so many genres of beats”. This is the highlight of the entire album itself. Switching flows to match Skread’s slight twists and turns on the production, Burna Boy’s malleable vocals, flexible to the demands of whichever beat he’s decided to work with, complement his multiple subject interests, that chastise the system (“Monsters You Made”), paint him in a vulnerable light (“23”) or profess his utter brilliance (“Way Too Big”) – Christmas wrapped in the lyrical dexterity he flaunts throughout the tape.

Showing us truly what he is made of, the production on what Rexxie deems to be another Grammy-worthy body of work gives Burna Boy all the room he needs to be ‘Twice As Tall’, and for that, our hats go off to Skread, Rexxie, Telz, LeriQ and the many other beatsmiths that put a hand to this greatness. On your next spin, pay attention. We promise you won’t regret it.

Featured Image Credits: Burna Boy/YouTube

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ICYMI: REVIEW: BURNA BOY’S ‘TWICE AS TALL’

Best New Music: Cuppy and Fireboy DML’s “Feel Good” is afropop at its finest

Posted on by The Native

In case you didn’t know, it’s Cuppy SZN and we are loving every moment of it. Last Friday, the DJ, producer, philanthropist, and now recording artist released her debut project ‘Original Copy’, and we must say that she deserves her flowers right away. In popular discourse, Cuppy’s musical abilities are often the subject of much doubt, as critics cite her DJ career as the full extent of her talents whilst haters refer to her wealthy family background as the source of her success. With ‘Original Copy’, DJ Cuppy is making a compelling case for her growing artistry, putting on a self-determined showcase, with the help of a few friends, strong enough to silence the criticism.

Ahead of the release of the 12-pack offering, the versatile, feature-packed tracklist left us wondering whether Cuppy’s voice as a solo artist would shine through or if she would take a back seat and let the features do the talking. But once the project reached out ears, Cuppy proved that she was capable of doing both, and succeeded at both. 

Though she admits she’s only in the infancy with her artistry, she shares in an interview with CNN that she purposely had over 10 features on the project because “wanted to make sure that [she] was expressing [herself] on each track but also displaying a message through other people“. With a global platform with Apple Music’s Africa Now radio show, aimed at pushing a pan-African message, it’s clear to see that Cuppy is on a mission to spotlight her contribution to afropop, but also to exhume the wealth of talent that exists here in Africa and in the diaspora at large and project them to the world.

 

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Although ‘Original Copy’ marks a defining moment for Cuppy’s career with repeat-worthy songs and quotable lyrics (I, for one, have listened to “Jollof on the Jet” an unhealthy amount of times), it’s the romantic afropop offering on the project’s fourth track “Feel Good”, featuring YBNL’s golden child Fireboy DML, that stands as the project’s most intriguing quality. Originally termed as the “JA ARA E” of the entire project upon our first listen, after several more listens, we can confirm that “Feel Good” is tailor-made for the lovers amongst us, who might be missing the euphoric feeling of post-midnight dancing.

Though Fireboy DML and Cuppy is a collaboration I never would have imagined, it’s a no brainer that the fast-rising artist was Cuppy’s pick for this romantically inclined number, as he’s established himself as Nigeria’s loverboy with his debut album, a project that singled him out as one of the youngest, hottest names in the new afropop vanguard at the moment.

“Feel Good” captures the shiny allure of afropop at its finest. Produced by P.Priime, the groovy up-tempo beat builds by latching onto the percussion-led sonics of afrobeats laying the perfect bedding for Fireboy DML’s delectably infectious vocals. “The night is still young and so are we/I might be wrong but you’re all I need” Fireboy begins, as he tries to convince a lover of his romantic feelings by singing irresistibly sweet words, sure to get any potential love interests swooning.

On the pre-chorus, he sings, “Tell me what you want to do tonight/O mami let me do you right” over calm, spacey guitar riffs which complement his amorous lyrics and paint poignant images of two lovers gliding on the dance floor under the twinkle of the dim-club lights. His happiness is almost symbiotic – you can’t listen to “Feel Good” without actually feeling good and bursting into dance. 

It’s at the catchy and chantable chorus that the first hint of Cuppy’s vocals come into play. As Fireboy DML sings “I want to make you feel good/Baby ma fi mi pa”, Cuppy’s additional vocals can ostensibly be heard gliding over the danceable beat as both artists express their romantic intentions with their love interests. Cuppy’s decision to give Fireboy DML full reign of the entire song is incredibly calculated and necessary as it allows Fireboy DML to truly shine, not only as an artist with an irresistible flow but as one with a lyrical dexterity that sets him apart as brightest acts in these parts.

With her promotional singles (“Jollof on the Jet” featuring Rema and Rayvanny and “Karma” featuring Stonebwoy) still comfortably sitting in the Apple Music Top 100 songs in Nigeria, as well as ‘Original Cuppy’ bagging the fourth spot on the Top 5 albums in the country on the platform, it is clear that Cuppy’s six-year-long journey to her debut album has finally paid off. With hits like “Feel Good” under her belt, Cuppy is primed for a successful career going forward.

Stream ‘Original Copy’ below.

Featured image credits: Instagram/NiyiOkeowo

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

ICYMI: Burna Boy is the MJ of music on “23”

Rema is an adoring lover boy for “Ginger Me” video

Posted on by The Native

Last month, Rema went on a 3-week release run, with new tracks, “Ginger Me”, “Alien” and the ubiquitous “Woman”.  This week by week drop is pointing to a possible project, which in this climate would be very welcome for the Mavin star. Bringing our attention back to his first of the three songs last month, he’s released a video for “Ginger Me”, the weight of the message is made nearly imperceptible by the graceful clip that shows Rema’s leisurely romantic experience with his muse.

Directed by uaxstudio, the video for “Ginger Me” captures a simple romantic getaway. We see Rema and his muse cuddling up at an apartment while he performs his adoring lyrics to her; “When I dey sing, sey na you I dey sing for”. Though his lyrics also acknowledge the groovy allure of his melodies and the dance-driven beat produced by The Element, Rema and his muse stay indoors and look happy to be in each others’ company and away from public eyes.

There are shots set in a neon-lit room and shots of dancers to appease the song’s dancefloor intentions, but by far, the most captivating frame is the closing shot of Rema and his love interest sitting on a swing. The image is a tribute to the cover art for the single, which shows Rema’s attention to detail when depicting his love life in his music.

Watch the video for Rema’s “Ginger Me” below.

Featured Image Credits: YouTube/Rema
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ICYMI: Rema’s single, “Woman” solidified his dominant run

A 1-listen review of Cuppy’s ‘Original Copy’

Posted on by The Native

Back in 2017 when DJ Cuppy stepped away from the decks and picked up the mic with the Tekno-assisted “Green Light”, we knew she was on to something but couldn’t quite place a finger on exactly what it was. Lighthearted with a catchy groove that made it effective on dance floors while showcasing DJ Cuppy’s sonic palette and voice, the song served its purpose – and with most of her subsequent releases, she has since continued to blaze the trail. This has now all culminated in her star-studded debut EP, Orignal Copy which we can all agree, banged.

Throughout her career, Cuppy has faced criticism from far and wide, whether it’s about her music or her style and hair choices. This could be thanks in no small part, to the fact that she was born into great privilege, which Nigerian society will always make you apologise for. Criticism is generally regarded as an occupational hazard for artists, however, DJ Cuppy remained unphased through it all, and continued to release club bangers with a diverse guest-list including artists from all around the continent like Kwesi Arthur, Zlatan, Sarkodie and more.

The impressive all-star roster she assembled showed the high standards she holds herself to, while also positioning her as a truly pan-African tastemaker with the culturally relevant artists she featured. From the tracklist alone, you can tell that she’s merging several worlds together, with features from all over the world: Wyclef & Julian Markey, to bringing two generations together with a Shina Peters’ feature.

From the guest list, the album is very promising and I didn’t quite know what to expect. Here’s how my first listen of ‘Original Copy’ went.

“Epe” (Feat. Efya)

You can’t go wrong with a South African House beat. The mix of catchy drum riffs, ambient harmonies and Efya’s enchanting melodies create a soothing backdrop for Cuppy’s speech to cut through with ease. She’s set the tone for the tape by describing her creative purpose as an African artist making music for a global audience, yet feeling the most comfortable doing it from home. Efya’s vocal performances is impressive as well. This is the way to open an album.


“Jollof on the Jet” (Feat. Rema and Rayvanny)

This was the first song that built our anticipation for Cuppy’s album and it’s easy to see why it was released first. Just like the meal that inspired the title, “Jollof on the Jet” puts listeners in the mood for partying with the laidback Afropop instrumentals. Though Rema and Rayvanny put in impressive performances with romance-themed verses, the simple chorus from Cuppy makes the song deserving of endlessly replays.

“Wale” (Feat. Wyclef Jean)

Boy, Cuppy is really singing here, but I’m just not in love with the performance. She doesn’t have the most convincing Yoruba tongue and I feel like that has let her down a bit here. Wyclef’s verse rescues the song with reference to his classic hit, “Perfect Gentleman” and his romantic confessions. However, partnering on a romantic song is most compelling when it feels like the artists are speaking to each other and asides from the line where Wyclef praises his “African Queen”, you don’t get that on “Wale”.

“Feel Good” (Feat. Fireboy DML)

This sounds fun. Fireboy can sing, but I’ve always felt he sounds better when he’s just enjoying the song rather than trying to hit notes. Here, he sounds happier than a child at his birthday party as he sings, switching flows expertly over the groovy instruments. Fireboy has unlocked his sensual pack, and now we’re sure to have teenagers who will share this song on their social media in hopes that their love interests will get the message.

“Cold Hearted Killer” (Feat. Darkoo)

Cuppy knows what’s pop. So far, each of the 5 tracks I’ve heard has the underlining quality to fit into club DJ sets and yet they all sound different. “Cold Heart Killer” mixes the groove of reggaeton with EDM synths to create a sugary pop song for the dancefloor. It’s so wavy, it’s hard to stay engaged with the lyrics as the beat slowly builds up to Cuppy’s chorus where she talks a big game as a “Cold ass killer”. It appears Cuppy is trying to rebrand herself as tough-talking badman and she picked the perfect partner in Darkoo. However, it feels like they’re both too concerned with capturing the party vibe to leave a threatening impression on the song.

“Original Copy”

The title track is a triumphant song and she opens it ironically with the harsh words of her critics; “DJ Cuppy/ Music is not your forte”. She flows over the trap production with ease and delivers confident brags to match trap’s boastful ethos. “I told my daddy I don’t need him no more” might sound tame coming from any other artist, but when your dad’s a multibillionaire, it’s a news headline. Though she doesn’t directly address her haters, her lyrics are so cocky that she doesn’t even need to. Also, she really sounds like herself and perhaps that’s why this song is titled “Original Copy”.

“Karma” (Feat. Stonebwoy)

The album returns to a party groove for the 7th track, “Karma”. This collaboration between Cuppy and Stonebwoy is perhaps the most convincing on the whole project. They borrow each other’s flow and go back and forth exchanging pleasant lyrics like an evenly matched tennis game. Everything about this song is infectious, you can’t help but get into the groove and dance.

“Litty Lit” (Feat. Teni)

Yet another radio-ready joint. Teni never misses an opportunity to show off her street-savvy energy and she infused just enough humour to give the song her signature flavour. The rhymes are interesting and familiar while the beat sounds like a tribute to early 2010 Afropop club bangers. This is a highlight of the album and Teni fans will be grateful for new music from their queen.

“54” (Feat. Julian Marley, Sir Shina Peter)

It’s rare to find a song that leans so heavy on nostalgic sentiments while still sounding contemporary. Julian Marley and Sir Shina Peter are both cultural icons, however, we wouldn’t have imagined them on a song together till Cuppy set them up together. This is one of the most important songs on the project, bringing two completely different generations and worlds together to celebrate the motherland.

“Guilty Pleasure” (Feat. Nonso Amadi)

Okay this is a sweet song. And with those guitar riffs, I can certainly vibe to this. Nonso Amadi proves why he’s still the poster face for r&b romance with his alluring melodies. Cuppy sounds like she has been doing some intense vocal training and it’s paying off. This is one of the songs on the album which definitely needs a video and we’re hoping for one.

“P.O.Y” (Feat. Ycee, Ms. Banks)

We’re back in the banger bag. I wonder why the album is sequenced like it is. The up and down is an interesting experience. Ycee’s leisurely rap sounds good and his ability to switch from rapping to singing is always impressive. Ms. Banks also adds a verse in her charming UK accent. Both artists have already proven their ability to make club-bangers and the whine-ready production is smooth. It’s the kind of song that leaves you wanting more.

“Labalaba” (Feat. Seyi Shay)

This is the last song and Cuppy is back again as an artist. She joins Seyi Shay in singing over the atmospheric afro-house production. No one can say Cuppy isn’t adventurous, with so many sonic variations on this album. Just when you start to get comfortable, she throws in a curveball. Thematically, she’s comparing her carefree spirit to a butterfly (Labalaba in Yoruba) while waving goodbye to a forgettable ex. She’s really convincing as an unbothered heartbreaker, and this is one instance where Cuppy actually outperforms her featured artist. 

Final Thoughts

‘Original Cuppy’ shows the full arsenal of DJ Cuppy’s artistic range. Her catalogue has always been dominated her club bangers, but the album finds her exploring more niche sounds. The title track, “Original Copy” for instance experimented with trap and I find myself praying she releases more trap songs where she can be herself and be assertive.

Cuppy’s star-studded guest-list means she’s not putting on any new artists, however, all her A-list features sound tailored for their placements while she also contributes vocals to give the album a cohesive form. Contrary to prior expectations of her ability and what the project will hold, there are a few shining moments where she shows he can really deliver.

Her rare mix of skills as a DJ, curator, producer and artist makes ‘Original Copy’ a special album that highlights her strengths and unique style. While the execution is daring with unpredictable match-ups and features with artists from different eras and different genres, most tracks from tape are tailored for the dance floor she’s familiar with. Thankfully, the pace changes often so the tracks aren’t repetitive.

Featured Image Credits: Instagram/cuppymusic

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ICYMI: A 1-listen review of Fireboy DML’s new ‘Apollo ‘ album

Songs of the day: New music from Barry Jhay, King Promise and Mr Eazi, Seyi Shay, and more

Posted on by The Native

Music has continued to sustain our sense of community as we all navigate the chaos of the world around us. Artists have kept the party going with new relatable songs that helps us remember the good old days (before the pandemic), dream of a better tomorrow, or just enjoy the present moment. Because we know the volume can be overwhelming sometimes, we’ve decided to highlight the best songs released from around the world, thrice a week, in a bid to put that extra pep in your steps as you go through the rest of the year.

Last weekend was one for the books with the number of new songs and projects from our faves; The Cavemen, Fireboy DML, Cuppy, Nasty C, Blaqbonez, Tomi Thomas, Falz amongst others shared new songs that we analysed here. To set the ball rolling for this new week, we have new releases from Barry Jhay, Seyi Shay, Zlatan, Ycee and Small Doctor, Solana and Joeboy, Mr Eazi and King Promise and more. Enjoy

“Ashe She” – Barry Jhay

Barry Jhay’s debut single, “Aiye” introduced him as an exceptional singer who infuses his Yoruba lyrics with heartfelt inspection. He continued in the same vein for his debut project, ‘Barry Back’, where he offered more Yoruba-fueled songs that resonated somewhere between solemn introspection and motivational-speak. He has just released the music video for the project’s second track, “Ashe She”.

“B’ota gbogun, bo binu/Mo mo pe alanu n be leyin mi oh/ And anything wey I lay my hands on/ Moni mo mo wipe ashe she”, he sings as he confesses of his faith in God over the catchy beat produced by Tee-Y . The video directed Director K highlights Barry Jhay’s traditional spirituality with the opening scenes shot at a Yoruba shrine. Though we also see shots of him praying at a church and later, outdoors with an occultic group, it’s hard to tell if there’s any narrative to follow. However, with Barry Jhay’s lyrics encouraging listeners to remain steadfast in their faith, the religious imageries are thought-provoking.

“Tuale” Feat. Ycee, Zlatan, Small Doctor – Seyi Shay 

Seyi Shay has had many highlights in her career since she first broke out with “Murda” in 2014.  For her latest single, “Tuale”, she’s giving thanks to everyone whose support over the years has made her career possible. “Tuale for my people wey sabi/ Tuale for the person wey dey make my song a hit”, she sings over the upbeat instruments and she also gets some friends, Ycee, Zlatan and Small Doctor to weigh in as well. They each deliver compelling verses narrating how their music career made them into celebrities and expressing their gratitude to the fans, good and everyone who made it possible.

The video directed by Mr C takes Seyi Shay to the streets where we see her enjoying her time on the streets. Though Ycee doesn’t show up in the video, we see Zlatan and Small Doctor recording their vocals as well as dancers who confirm the groovy effect of the beat.

Solana – “Far Away” Feat. Joeboy

Joeboy fans have Solana to thank for giving them a new Joeboy verse sooner than expected. The two make a convincing pair on the romantic record, “Far Away”. Produced by Killertunes, the lightweight harmonies make the perfect backing for their hearty confessions addressed at their unfaithful lover. To a passive listener, the sweet melodies from Solana and Joeboy suggest that “Far Away” is just another valentines day ballad, however, the lyrics reveal the love they explore to be messy, carnal and risky. The soothing harmonies disguise the anxiety of her pleas as she asks her lover to commit to their future together; “we’re about to make it forever oh/ The way that I feel is forever oh”. On the track, Joeboy plays the boyfriend who is trying to be the best partner he can be, so he confesses his romantic feelings and promises to always be the loving boo, while Solana comes across as trying to mend a broken heart with these promises.

“Baby I’m Jealous” – emPawa Africa, feat. Mr. Eazi, King Promise

With the world isolating to stop the spread of COVID-19, a lot of businesses were put on hold while we figured out how to navigate the world on the internet. While some took this as an opportunity to relax, others—especially creatives with online platforms—found ways to keep pushing their products. Mr Eazi and his emPawa Africa team put out new music in June while we adjusted to the new normal and now they’ve put out the video for “Baby I’m Jealous”, the first single from the tape. The video captures the song’s producer, Guiltybeatz and artists, Ghanaian highlife star, King Promise, and Mr Eazi as they try to create from the comfort of their homes.

The video opens with a facetime conversation between King Promise and Guitybeatz discussing how they aim to promote the song and we get a candid portrait of their in-door life. We see Mr Eazi join in as well as they try to set up lights to shoot the video for the romantic song with their phones. The video is proof that the pandemic can’t really stop creativity, and awkward as it is, it’s fitting to the catchy song.

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ICYMI: Catch up on all the songs releases from last week

NATIVE Exclusive: Black is King’s Papi Ojo wants to do more than dance

Posted on by The Native

Beyonce is a great performer, in fact, there’s a conversation to be had for crowning her the best of this generation, but I’ll let you be the judge of that. From her days as a member of Destiny’s Child to her legendary Coachella performance that bagged her a Netflix documentary, she’s consistently delivered awe-inspiring dance routines and death drops that you definitely should avoid trying at home.

So when a 22-year old performer named Papi ‘Stephen’ Ojo burst out with similar jaw-dropping moves beside Queen Bey in her executive-produced visual album Black is King, he quickly became the cynosure of all eyes in his hip-jerking, blue-toned role. But as his expansive CV will reveal, Papi Ojo has had a hand in many of your favorite celebrities dance moves long before Queen B’s seal of approval, haven worked with names like Rihanna, A$AP Ferg, Janet Jackson, Teyana Taylor, Davido, and more.

Just a young kid from Lagos trying to make it in the world like you and me, Papi Ojo does not take his success so far for granted. In a conversation over Hangouts last week, he tells me of the immense gratitude he felt working with Beyoncé on set every day and the gargantuan role of bringing African dances to a global stage. “It’s a blessing to be putting my country on the map. There are far many talented dancers on this earth but for me to be able to represent and for Africans on the continent to accept me, I am proud that I didn’t disappoint people back at home and here in the diaspora”.

As a born and bred ‘Naija’ boy, Papi has always been conscious of whether or not he will be a disappointment. Any Nigerian child can easily relate to the difficulty of choosing a creative passion over a professional dream society has for us, but for Papi Ojo getting his parents on board with his vision took little convincing. Backed by his older brother, who is now late, and his cousin Emmanuel, the three formed a dance group called the A.V.O Boyz back in 2015 when his family moved to America.

“My parents have always been supportive and even though, they want us to focus on education, they have never once stopped my brother and me from dancing. They would give us the leeway to do what we wanted because they underwood that education is not the only way to make it in life.”

Backed by this supportive family background and a prayerful disposition, Papi Ojo now wants to make his mark in the music industry. Growing up within a musical family who were not only fans of music but were also performers themselves, Papi found his love firstly in music before being enthralled to move to the sounds he was hearing. ‘I was very insecure about that side of me even though I have always wanted to do music and it’s always been my passion’ he admits to me, describing the period before he found the discernment to dive into his passions and live completely for himself last year. Though the focus has mostly been on his dancing and little on his actual musical talent, Papi Ojo is ready to show the world that he can merge these two passions together seamlessly and prove that he’s more than worth your time. 

‘Papi is here, hide your girls’ says Ojo with a chuckle, explaining that this is his catchphrase. He describes a pulse of love and positivity at the centre of his music, ‘I would describe my music as music for the lovers and for the happy people. It highlights romantic love and having fun while touching on everyday activities for millennials’ he succinctly explains. This captivating quality that evokes amorous feelings and feel-good dance is ostensibly seen from his most recent release “Beremole”, a catchy afrobeat number primed for dancefloors from Lekki to Brooklyn. 

Though he’s only been making music for a year, Papi is confident in his ability to constantly provide listeners with dance-ready hits haven grown up on a musical diet of P-Square and Sound Sultan. He credits the rising afropop acts at the time for propelling his tryst with dancing, explaining that a song truly comes alive when you can connect to its hypnotic pulse. ‘I have to combine my two passions because they are like brother and sister. They help each other so much’ Ojo says, before adding ‘Why stay in one lane if you can dominate in two, you understand?’. Gone are the days of constricting oneself, as these days, people can be as multi-hyphenate as they please and cater to the many different versions within themselves.

Above all, Papi Ojo wants the world to know that he is following his heart. The heart that brought him to singing as an insecure kid all those years ago and the heart that has sustained his dance career even at times of turmoil when he was close to giving up. He goes wherever the music and the dancing take him, and for now, that’s finally leading up to his biggest project yet–the release of his forthcoming EP. This project, he promises will introduce viewers to a whole new side to him, which will be bolstered by the best music video that will do justice to his love for dance. 

“I need to get out of my own head and realise that the world is bigger than me and my own problems, and I have to stand up for something. I hope everyone is ready to take this journey and be ready for my growth. Don’t worry, it will shock you.”

With the harrowing events of this year from the global health crisis to the racial reckonings that have been amplified, Papi Ojo is banking on himself more than ever before. Nothing has seemed impossible this year and nothing seems beyond reach, and with Ojo’s sturdy Christian faith and his deep warming conviction in himself, he’s gunning to win the hearts of not only the ladies but the world at large. 

Featured image credits/EbonyMagazine/Disney/Parkwood Entertainment

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

ICYMI: The importance of women sharing their experiences through music

Tiwa Savage enlists Sam Smith for her latest single, ‘Temptation’

Posted on by The Native

With the Friday release of her third studio album, ‘Celia‘ just around the corner, Tiwa Savage is refocussing our gaze right back on her, after a quality of New Music Friday. So far, the promotional singles for ‘Celia‘ have been resounding hits, with “Koroba” and its predecessor, “Dangerous Love” making chart history in Nigerian airplay.

Well it looks like her third and, we can assume, final single before the project drops, will follow the same path. With a Sam Smith assist (we might have to adopt them) and a sensational London production, “Temptation” looks like a hit that’ll span nations.

London opens this number with jazzy hints on his production, introducing a sexy bass guitar that sets the sensual tone Tiwa Savage is going for on her opening verse and chorus, co-written by Fireboy DML and herself. Leading with her head voice crooning the repetitive lines, “temptation, that’s all I see when I look at you“, Tiwa Savage is looking for “ginger” from the song’s muse, and taps into more Western-pop proclivities than what we’re used to through her vocal deliveries.

After a typically bouncy instrumental riff, Sam Smith makes their grand entry onto the track, coming with a smooth verse that is both lyrically considered and vocally alluring. A little more wistful than Tiwa Savage – staying right on brand – Sam Smith sings, to their own muse, “the shape of your body replays in my mind”, telling us how they, “crave your attention”, before ending their verse in unison with Tiwa Savage over a duet that confesses they’re both “all fired up with nowhere to go”.

A Sam Smith and Tiwa Savage is a collaboration we never would have imagined, but Sam Smith brings their A-game to Tiwa’s latest, and the dynamic London beat – full of well-placed horns, familiar afropop drum patterns, and jazz inflections from the guitars – fully brings the record home.

Get ready for ‘Celia‘, loves. Pre-add/save here.

Featured Image Credits: Tiwa Savage/Instagram

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ICYMI: TIWA SAVAGE’S “DANGEROUS LOVE” AND “KOROBA” MAKE CHART HISTORY

Songs of the day: New music from Blaqbonez, Tomi Thomas, Falz, Nasty C and more

Posted on by The Native

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

Earlier in the week, we got new music from WurlD, ADH, Vector, Eugy and PyschoYP, Ghanaian singer, Sista Afia and Fameye, BOLG and Jaiye. To get you in the mood for the weekend festivities, we’ve compiled a list of all the best songs released this weekend. Blaqbonez, Tomi Thomas, Falz, Nasty C, new Marlian Music signing, Tori Keeche and Naira Marley, Tulenkey and more. Enjoy.

Tomi Thomas – “Hopeless Romantic”

Tomi Thomas‘ first taste of the limelight came through his role as a member of the LOS crew. However, since the group’s 2012 hit song, “Bad Guy P”, they’ve each pursued solo careers and Tomi has steadily grown into his own. He improved on his singing and is now renowned as one of the most captivating stage performers in the country. On his latest single, “Hopeless Romantic”, he reflects on his days alone and how his passion for singing gets undermined by those who don’t understand him.

The Caribbean leaning instrumentals for “Hopeless Romantic” are smooth, and the laidback arrangements allow for Tomi Thomas’ storytelling to shine. “It’s funny/ How they show me/ That they don’t know me/ I’m just a hopeless romantic”, he sings on the catchy chorus. And though the lyrics are simple and casual, his delivery is meticulous as his pitch falls and rises to match the intensity of his story. The accompanying video allows for more vivid narrating as we see him and his muse dressed like they’re prepared to go for a wedding.

Falz – “One Trouser”

Falz‘s most endearing talent is his sense of humor. Though he’s an accomplished actor and a convincing rapper, his jovial flair gives him an extra edge over others in his field of entertainment. His latest single, “One Trouser”, benefits from this as well with the comical depiction of a rowdy Lagos bus park.

The lyrics for “One Trouser” narrate the hilarious scene of a fight that broke out between Falz’s fictional character, Jimi and an Okada rider. Falz references popular motor parks like Surulere, Bode Thomas and Marwa Roundabout as the location of the accident and with his Falz the Bahd Guy accent, he delivers a convincing impression of a Lagos street fight, saying “Shebi we go enter one trouser”. The accompanying video directed by Dammy Twitch featured cameos from other comedians who fill up the busy street where the hilarious fight happens. Though the accumulation of accidents is exaggerated for humor, Lagos is the most populated city in Africa and the streets are indeed rough.

Tori Keeche – “Yoga” Feat. Naira Marley

Naira Marley’s Marlian Music label unveiled their latest signing, Tori Keeche yesterday and have now shared her debut single, “Yoga”. Tori Keeche is the first female artist on the label and with her new single, “Yoga” she confirms that she isn’t just a placeholder as plays tag team partner with none other than the label boss himself.

Aided by the dancehall beats, Tori Keeche delivered matured lyrics on “Yoga” as she wields her sexuality confidently to describe how she’d like to have sex with her partner; “I stretch it out like Yoga”. The sex-charged direction of the song fits Naira Marley’s emo perfectly and because of that, he’s able to switch from the street-hop style to a more conventional Afropop style. With the catchy dance-driven beat and both artists going back and forth, promising to please their lovers, “Yoga” is a rapturous song that deserves a spot on all sex playlists.

Tulenkey – “Link Up”

Last time we heard from Tulenkey, he was lamenting the woes of the pandemic on “Corona”. Though the virus remains a threat till date, the anxiety attached to it has eased off a little and he’s now back with a celebratory new single titled “Link Up”. “Link Up” finds the Ghanaian artist singing and rapping in a mix of English and his indigenous language as he explains how he has been coping with recent events.

Singing “Forget the stress and party/ Stress no fit kill man/ Smoke all the stress away”, Tulenkey recommends using cannabis to get rid of the anxiety. The laidback instruments produced by MOG Beatz are designed for dancing and it’s sure to put listeners in the right mood as we enjoy the weekend festivities.

Nasty C – “Zulu Man”

Fans continue to anticipate Nasty C’s upcoming project, ‘Zulu Man With Some Powers’ after the pandemic forced the South African rappers to delay the project’s release. However, he has continued to put out singles from the tape and the latest one, “Zulu Man” is the project’s title track.

Nasty C’s self-assured raps have earned him a reputation as one of Africa’s top hip-hop acts and the good people at Def Jam were impressed enough to sign him on earlier this year. Despite having the  attention of the whole world at the moment with this upcoming m project, “Zulu Man” finds Nasty C rapping mostly in his indigenous language, while his flow remains as impressive as ever.

Blaqbonez – “Big Brother”

Though Blaqbonez first earned his name as a battle rapper, his social media antics have given him the reputation of an internet troll who’s constantly poking fun at anyone who’s unfortunate enough to give him a reason. He took a pop turn for his debut single in 2020, “Haba” which he cheekily promoted insistently till it became infamous. For “Big Brother”, his second single release, Blaqbonez is reminding everyone of his rap prowess with no gimmick involved.

Though we won’t put it past Blaqbonez to find another amusing way to promote the song down the line, there‘s nothing whimsical about “Big Brother”. Rapping “Them no fit lock me inside no house now/ Cause me I dey for street, I’m getting guwap now”, “Big Brother” finds Blaqbonez bragging about his accomplishments while shading those who doubted him.

DOZ x Malik Bawa – “FADED” Feat. PsychoYP, Marv OTM, Denzel Oaks, Zilla Oaks

When you hear a song titled “Faded”, your expect the song to be about drinking too much alcohol, especially when it’s a trap song. You expect to be reminded of the drowsy feeling and pleasant numbness of partying hard. DOZ x Malik Bawa’s “FADED” doesn’t disappoint in capturing the faded mood. The producers’ psychedelic trap production creates a glassy-eyed backdrop for PsychoYP, Marc OTM, Denzel Oaks and Zilla Oaks to paint their various ideas of extreme partying.

The chorus goes “I’m faded off my drink” and then the beat drops, signaling the rappers to each take turns to add different eccentric details to the mosh pit. PsychoYP brags about his drip, Marv OTM raps about drinking and driving, Denzel Oaks talks drug money and Zilla Oaks closes with a drowsy flow that alludes to the Hennessy he tells us he has been drinking. As trap music grows more popular and mainstream, Nigerian trap artists are getting more comfortable and attempting to capture more ambitious moods.

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

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

GEMS: A list of the best songs released this week

Posted on by The Native

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

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

“808 Therapy” – Remy Baggins

When you’re going through your darkest times, talking to people, whether is therapists or friends or even family, can seem impossibly vulnerable and emphatically unappealing. In our TIME Issue cover story, Mowalola discussed how one of her most prized collections was created during a time of deep distress; gearing up for his next album, Santi has been vocal about how the pain he has been through this year has fuelled his creative process. Sometimes, art is the only way in which one can express our vulnerable feelings and work through the emotions that are bringing us down. This is what Remy Baggins takes on on “808 Therapy”.

After a melancholy melodic two sentences that emerge as the song’s chorus (“they ask me why I never tell nobody what’s been going on inside my head/so imma put it in a song and turn my 808s to therapy instead”), Remy Baggins almost interrupts himself, as he begins to dive into this “808 Therapy” session. The top of the first verse “bro let me show you my woes”, is followed by unguarded bars throughout the song that express the myriad of emotions Rembo has been subjected to during his career. He is jaded by the snakes he’s discovered in his camp; resentful of the fact that he is perpetually underrated; slighted that his hero would say he doesn’t think he’ll blow; inspired by himself, resilience and obvious skill to keep working. The jumpy hip-hop beat over these vulnerable verses is juxtaposed with softer, less percussive instrumentation on the chorus, giving Remy Baggins and listeners in calming introspective respite before he breaks into bitterly narrating those “woes“.

“Link Up” – Tulenkey

This year has been one hell of a rollercoaster. We already felt pretty sick from the tragic news of multiple of our legends passing, as well as civilians losing their lives in accidents like the gas plant explosion in Lagos, however, the pandemic really pushed this year into a horror show of epic proportions. The anxiety from dealing with the COVID-induced lockdown was what inspired Tulenkey’s debut single for 2020, “Corona”, which he has now followed up with, “Link Up” which updates us on how his mental state has improved since we last heard from him. 

“Link Up” is a turn-up song for the clubs. The catchy beat, produced by MOG Beatz, is designed to serve dance floors, with Tulenkey setting us off in a good mood as he chants “Lala/Lala” cheerfully on the song’s intro. Tulenkey sings and raps, mixing English and his local language as he describes how he can have a good time in spite of all the chaos around. Singing “Forget the stress and party/ Stress no fit kill man/ Smoke all the stress away”, “Link Up” recommends partying as a cure to anxiety and stress. Though the pandemic has greatly affected our ability to link up and party, Tulenkey is itching to return to the club as the world slowly resumes its forward motion.

 “Original Cuppy (Interlude)” – DJ Cuppy

For DJ Cuppy, scrutiny from the media about her life coming from a notable family, has made her vulnerable to criticism whenever she released music. Regardless, through her career path as a DJ, a curator and now an artist, she has kept at it, releasing club-bangers and ignoring the negative reviews (in her music at least). Just the other day, she released her debut album, ‘Original Copy’ and on the title-track, “Original Copy (Interlude)” she finally addresses the haters. 

Being criticised is typically regarded as an occupational hazard for artists, and in hip-hop’s self-assured terrains, it’s used as fuel. DJ Cuppy channelled her haters for her trap experimentation on “Original Copy (Interlude)” as she flips the harsh words from social media comedian, Oyemykke into an intro for the cocky number which we learnt was an actual freestyle. Though the song is only a minute long, she delivers impressive brags and an even more impressive attitude as she switches flows over the airy Trap-infused beat produced by Bond. We recently wrote about how women are leading a hip-hop revolution in Nigeria and with this song, DJ Cuppy adds her contribution to the confident charge where women can blow their horns and be assertive.

“Blood Guns and Revolutions” – Msaki

Although revolutions are looked at as some sort of idyllic fix for terrible conditions, the truth is they often come with harrowing consequences for those who have lived through them. “Blood Guns and Revolutions”, the breath-taking new single by South African singer, Msaki, is a treatise on the loss and trauma that follows when people have to fight tyrannical powers for rights to a better society. With poetic writing and a vocal performance that personifies heartbreak, Msaki strips away the glamour from revolutions, centring the people who have to suffer in these situations and pointing her fingers to those who benefit from the chaos.

“Four thousand rounds of bullets, ready to break black bodies again”, she mournfully sings in the very first bar, a loaded line that connects the past and present struggles of Africans and Black people everywhere. In the past few months alone, we’ve witnessed several protests across the world with different triggers behind them, but the one thing they have in common is that they all involve the brutalisation of people desperate for a change—a change for the better. It’s a recurring cycle that Africans and Black people are familiar with, and it fuels the odd but fitting mix of disappointment and cynicism Msaki channels on “Blood, Guns & Revolutions”.

“You died with nothing still, although museums are filled with stories of your ill-rewarded heroic deeds”, she observes on the second verse, invoking the memory of fallen heroes and wondering why many more have to die for sweeping change to be effected. Accompanied by folksy guitars, elegiac strings and languid drum rolls, Msaki chamber filling voice offers the song’s small glimmer of hope, bringing some radiance to a relentlessly dark topic.

“Exclusive” – Adekunle Gold ft Olayinka Ehi

All year, we’ve been gearing up to the release of Adekunle Gold’s album, ‘Afropop Vol 1’, and upon it’s arrival last Friday, it confirmed everything we already assumed about the project. Packed with experimental songs which show off Adekunle Gold’s sonic and personal growth, one of the songs that stood out the most was the entanglement anthem we all currently need, “Exclusive”.

Enlisting our Fresh Meat alum, Olayinka Ehi, the pair provide a mellow duet about a complicated relationship. We’re all aware of how complicated dating in this age is – having to go through so many stages before you get to the ‘real thing’. “Exclusive” perfectly captures the confusion and uncertainty that comes when you haven’t defined a relationship, highlighting the anxieties of each party. On the chorus, the pair duet: ‘Are we exclusive? Is it game over, let me know and if you’re holding back, then let go of my heart’, initiating a tough conversation people would rather avoid against the mellow Pheelz-produced beat.

While Adekunle Gold holds his own with his vocals and clear pen, Olayinka Ehi undoubtedly steals the show, with her honest and relatable lyrics and perfectly pitched vocals.

“Residual $elf Image” (feat. Ayanda Jida) – A Reece

A-Reece is only 23years old, but he’s done and been through enough to be considered a veteran rap artist. On his latest single, “Residual $elf Image”, the South African rapper takes the posture of someone whose experiences have helped shaped him into a more secure person, balancing his exuberant tendencies with a riveting wistfulness. Containing a fair share of machismo, the song initially starts off with standard fare braggadocio, but as it moves along, it hinges more on self-awareness, something Reece has always tapped into, and his efficacy here shows how seasoned he’s become at speaking the truth of his mind.

“Acknowledgement without the accolades, still I celebrate/’cos any day could be the last time I hear this record play”, Reece raps at the beginning of the second verse, emoting from a place of honesty and thankfulness. As he continues into the third verse, he gets more assertive of his mission for longevity, keeping his pristine, nimble flow over broody piano chords. In the backend of the song, Ayanda Jida’s soulful bridge and an interpolated interlude from “The Matrix” leads into a beat switch, where Reece taunts his foes out over a looped soul sample.

It’s in this latter part gets into his lyricist bag with impressive lines like, “You boys are only known for shaving points like Paul on The Longest Yard”. “Residual $elf Image” is Reece reminding himself and listeners who he is exactly, also setting the stage for the next arc of his impressive career so far.

Featured Image Credits: NATIVE 

Words by Adewojumi Aderemi, Debola Abimbolu, Dennis Ade-Peter and Damilola Animashaun

ICYMI: Review: Burna Boy’s Twice As Tall

Remy Baggins’ new project ‘Amaterasu!’ is full of the best bars

Posted on by The Native

‘Amaterasu!‘ is Remy Baggins’ second project this year. Back in March, he followed up his sex-driven 2019 tape, ‘Hentai‘ with a more complex take on relationships, exploring the complicated dynamics of love, entitled ‘Sakura‘. Leaning into his r&b proclivities, as those subject matters are disposed to, ‘Hentai‘ and ‘Sakura‘ shared much of the same sonic DNA – both lively pop-inclined bodies of work which tapped into the alternative tastes of the world surrounding Remy. ‘Amaterasu!‘ plays with an entirely different soundscape, however, with the only unifying thread between this piece and the last being Remy’s Japanese inspired nomenclature.

‘Amaterasu!’ is an introduction to“Trap Rembo”, Remy Baggins’ reactive alter ego that has risen out of the fire of “frustration anger and extreme pressure” Baggins writes on the flip side of the album cover. Explaining that ‘Amaterasu’ is an inextinguishable flame that burns continuously for seven days and seven nights, Remy Baggins shares with his fans this seven track project in the hopes that “this ignites and unquenchable fire in the hearts of those who try to provoke us.“

An expressive rap project, which does as much baring of souls as it does bragging about skill, ‘Amaterasu!‘ is full of some venerable penmanship, from Remy Baggins himself, and his newest set of collaborators, including vernacular rapper, MOJO and Pyscho YP on the lead single “Gboju!“.

If it is Remo’s intention was to arm listeners with enough quotables to fan the flames of their rage – which his considerable craftsmanship on the first track makes clear that it is – then it’s our duty to report on just how well Remy Baggins has executed this undertaking.

“Trap Rembo”

Remy Baggins is upset, and though he confesses this early on, the moody production that opens up with church bells of reckoning give the game away first. Quoting Drake with his opening line, “I’m upset“, Baggins goes on, particularly in his second verse, to deliver original bars that emphasise just how over it all he is.

First, he makes it known that he’s all about the money, a topic we return to later (albeit with a little less punch) on “W.I.G.B.?” saying, “The only bands I listen to are rubber bands” on the muffled hook, before returning to more clearer production just in time to set things crystal for all the snakes: “If you got a fucking problem with me tell it to my face“.

By far the hardest line of the project however it this one: “Bitch I wrote, produced and mixed this shit and dropped it anyway.“ As becomes clearer throughout the rest of the project, Remy Baggins is tired of being underrated and disrespected, he’s got incredibly skill and ‘Amaterasu!‘ is all about flaunting it. Apparently, he’s also got palpable influence (“Ain’t nobody moving ‘till I muhfucking say so“) and no more patience for the doubters: “Bitch I’m only loyal to my homies and my ego“.

“Gboju!”

Simple as it is, the title line, “My guy Gboju!“ packs a real punch, especially at the start of a record which details all the ways in which you are not deserving of Remy, Psycho or MOJO’s attention. For Remy Baggins, it’s all the fraudulent behaviour from people who don’t know how to work hard for their money. Repeatedly asking to emphasise his deep judgement, Remy Baggins poses the serious yet hilarious question: “why you faking money online?“

MOJO, on the other hand, is more concerned with your lack of skill staining his whites. Effortlessly flowing between Yoruba and English, the new gen vernac rapper, in his bassy gritty voice reminds us of what sets him apart from the herd, delivering two “Awon bawo Orisa Babalawo fill the verse with incantation/ Awon bawo lesson teacher mo’n ko won even when them dey vacation“ before switching up his flow for a memorable closing verse.

“Southside”

Featuring Marv, OTM, VEEN & Kiienka, the verses on  “Southside” a pretty literal and don’t seem to share the same enthusiasm for dragging their peers as the previous tracks do. In this light, beyond the threatening chorus “We don’t talk we talk is outside“, “Southside” is surprisingly lacking in bolshy punchlines, considering the song begins with “Oga you think say I stupid?/Are you dumb? Are you foolish?“

“808 Therapy”

‘Amaterasu‘ was born from pain. This record is the project’s middle point and acts like the core of the beast, revealing the sources of Remy Baggins’ hurt as he decides to “put it in a song and turn my 808s to therapy instead“. After clever bible references like “You a dreamer nigger, Joseph“ and “Silent devil with the halo“, Remy Baggins goes on to announce that “I smoked my first joint with Jesse Jaggz“, an utterly random confession that acts to lift our spirits after Remy reveals one of his sources of hurt, he recalls, “Slippery nigga like my 808s/My idol couldn’t tell me to my face/He told my homie I’m never gon’ blow (oh my god, what the fuck?)“.  It’s a painful bar, but a topic Rembo doesn’t dwell on for too long, and in the end he offers us just the advice we’d give him: “Tell a stupid nigga wisen up“.

“Sicker!”

Mirroring the Migos’ “Get Right Witcha” flow for the chorus, its final bar “And if you think you dope, bitch I’m sicker“, reminds me of Africa’s best rapper, Jahdatta, who famously said “you think that you’re ill, I’m mentally iller“. Though not emulating the same, self-diagnosed crazy as Jahdatta, Boogey’s first and only verse on the track is a pretty wild one, his standout lyric being, “Pray to the one who owns the sky, no reply is she light skin though?“

“W.I.G.B.?”

More melodic than the previous tracks, “W.I.G.B.?” returns to the topic of the budget. Insisting that they be left alone “if it ain’t about the money” (Zilla references), Remy Baggins also concedes that he’ll entertain a conversation for one other reason, but nothing else, singing: “If you ain’t talking ego, please get out the way”. After demanding what he’s owed and instructing opps to keep his name out of their mouth, Remy Baggins gets even more aggressive on this sung number, silkily vocalising the following threat: “You don’t wanna fuck with Rembo lose a finger like you Django“.

Though Zilla Oaks is a rapper himself, on this track he concurs with Remy Baggins, singing his way through his verse, but his finest lyricism comes when he returns to rapping, indicated by his delivering the bar: “Only L I take is when I levitate“.

“No Regrets”

As many rap projects do, ‘Amaterasu’ concludes with a reflective, emotive number, where Remy Baggins details all the pressure he’s been feeling, ultimately consoling himself with the fact that, despite the mistakes, and perhaps not being where he thought he would be, or where he ought to be, he has “No Regrets”. For anyone feeling lost in life, alone in their search for purpose this song will resonate. Though we all like to believe that things will fall in place at the right time, patiently waiting for your moment is nearly impossible for the driven and ambitious like Remy. Especially when “Time is of the essence, homies living lavish waiting on the boy” the eagerness to reach the top of your game so you can live your best life with your peers multiplies infinitely.

Featured Image Credits: Remy Baggins/Instagram

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

ICYMI: THE CAVEMEN RELEASE THEIR HIGHLY ANTICIPATED DEBUT ALBUM, ‘ROOTS’

How 2Baba became the conventional blueprint for mainstream longevity in Nigerian music

Posted on by The Native

“You’re only as funky as your next cut” – Andre 3000, “Rosa Parks”

Towards the mid-‘00s, 2Baba—then known as 2Face Idibia—pivoted into a solo career. In the preceding years, he was one-third of Plantashun Boiz, the seminal group who debuted in the late ‘90s and opened the new millennium with two impactful albums, ‘Body & Soul’ (2000) and ‘Sold Out’ (2003). According to industry lore, 2Baba was key to the end of the group’s dominant run, after opting to sign a solo recording deal with powerhouse label at the time, Kennis Music. Justifying his decision, 2Baba continued from where he left off and instantly hit the ball rolling as a standalone act, becoming one of the continent’s biggest artists as the decade wore on.

Along the way, he hit a valley which eventually proved definitive within the overall picture of career. In 2008, 2Baba was in an unfamiliar situation: For the first time in his illustrious, decade-long career, the singer put out a solo album which wasn’t met with unanimous acclaim. Prior to this, every 2Baba album was far from just any other release; they were hotly anticipated events that lived up to their billing, both in terms of quality and instant impact. For an artist who arguably had four classic albums under his belt (Plantashun Boiz included), the lukewarm attitude to his third album was deafening and it was the first time 2Baba seemingly stumbled, which led many to doubt the godly heights he had made the standard today.

Just two years before, 2Baba had obliterated any idea of a sophomore slump, following up his classic debut album, ‘Face 2 Face’, with ‘Grass 2 Grace’, an equally classic album which is widely regarded as one of the greatest pop albums in contemporary Nigerian music. Given this back to back successes, his third act was expected to continue this immaculate run. However, the resulting album, ‘The Unstoppable’, was anything but business as usual, and a lot of the criticism stemmed from the belief that 2Baba had failed to meet the standards of his previous work.

While his first two solo albums worked within the same blueprint—both were released under the watchful eye of Kennis Music—‘The Unstoppable’ took a more experimental bent, pushing 2Baba’s r&b fascination to the forefront, a move that wasn’t satisfying to many. I vividly remember when a secondary school classmate was trying to convince the whole class that ‘The Unstoppable’ was an instant classic, but none of the rest of us were having it. At the time, the tradition was to keep a new favourite album on repeat so we could brag about knowing all the lyrics, but this was the first 2Baba album many of us didn’t leave in for prolonged periods in our Walkman and CD players at home.

Revisiting ‘The Unstoppable’ over the 12years since it came out, it has become easier to appreciate the album’s experimental flair, however, it does fairly lack the lived-in writing and bold, indelible hooks that has defined many of 2Baba’s best and biggest songs. But back then, it seemed more like 2Baba was in decline, and it didn’t help that there was a relatively new set of superstars – Wande Coal, M.I Abaga, Banky W etc. – who were already showing out and taking Nigeria’s contemporary music scene into a new realm.

Music fans can be very fickle. At the first signs an artist isn’t delivering according to their standards, they begin to question the efficacy of the artist’s powers and allegiances quickly begin to wane. This is what makes Andre 3000’s quote resonate with many artists, especially those who aim for mainstream success; they can go on a run that makes them invincible, but the perceived failure of their latest work chips into their rep, sometimes very significantly. Without a quick turnaround back to their “best”, the listening public will continue with their lukewarm attitude until the artist effectively descends from the pedestal of constant popularity.

Acutely aware of the stakes, 2Baba made a supreme return to form in subsequent years, proving that he was too big and too talented to be counted. First came “Implication”, the song that reclaimed his position as one of the finest at dishing out club bangers, then came “Only Me”, one of the greatest feats of honest introspection in Nigerian music. Armed with these two smash hits, the singer put out ‘The Unstoppable: International Edition’ in 2010, a front-to-end experience of 2Baba’s glorious and transcendental powers. A mixture of the best songs off his previous album – some of which were reworked and remixed – and great new additions like “Take it Back” and “Raindrops”, the new collection saw 2Baba find the balance between his need for experimentation and catering to a wide audience.

It would be a bit of a stretch to consider the period around ‘The Unstoppable: International Edition’ as a resurgence for 2Baba, and that’s mostly because he never really lost the Midas touch that made him a spectacular artist. But with the gift of hindsight, it was a comeback of sorts, which in addition to reinforcing his legacy as one of the greatest Nigerian artists, became a cornerstone of the singer’s longevity.

In Nigerian music, it’s commonplace for artists to fade into oblivion at the first signs that they’re struggling. It was especially rampant for artists who broke out in the late ‘90s and ‘00s to exit the scene after a few tepidly received offerings, or become a shadow of their best selves if they chose to remain around. 2Baba sidestepped those damning options brilliantly, cementing himself as Nigeria’s foremost perennial superstar, and becoming the conventional blueprint for longevity with his continued dominance in the first half of the last decade. In this period, he continued to release hits (“Ihe Neme” “Dance Floor”) even though subsequent albums didn’t reach the same level of critical acclaim as ‘The Unstoppable: International Edition’.

These days, albums such as Burna Boy’s ‘Outside’ and ‘Twice As Tall’ , Davido’s ‘A Good Time’ and Fireboy DML’s ‘Laughter, Tears & Goosebumps’ have helped full-length LPs regain a new level of meaning in gauging an artist’s star power, however, it’s still a well-known fact that scoring big hit singles is the ultimate key. Even though his prominence is now a given at every point in time, 2Baba understands the need to refresh his relevance, and he’s used the singles game to his advantage even with his output significantly slowing down in the last five years.

Earlier this year, 2Baba dropped ‘Warriors’, his first album in nearly six years, and in that time he had a few periodic releases, features and a handful of hit songs. Most notably, in the summer of 2018—four years removed from his previous studio album, ‘The Ascension’ – the singer delivered “Amaka”, an instant fan favourite which went on to become one of the biggest songs of that year. The song itself is a reminder 2Baba’s unvarnished ability to make great, easy listening music, but at the same time it doubled as a way of showcasing that the legendary singer can finagle a hit song at any point in time.

Hits are unpredictable, artists rarely ever know what is going to be a big song because they don’t know how an audience will react, however, there’s a level of experience that helps already proven artists to position their music to appeal to the wider audience. 2Baba hasn’t entirely hung this current arc of his career on making and putting out songs with the intention that they all become hits, but he clearly knows how to make them and it’s served him well so far, even when he isn’t at his most prolific or absolute best.

By the standards set from the singer’s previous albums and just generally speaking, ‘Warriors’ is quite the middling affair, but it has its fair share of enjoyable bits. Earlier this month, he shared the Wizkid-assisted “Opo” as the latest single off the album, adding a colourful set of visuals to Blaqjerzee’s thumping, club-ready beat and the raunchy subject matter aided by lively performances from the two artists. If it wasn’t for the ‘rona, there’s little doubt in my mind that “Opo” will be in rotation on DJ sets at clubs and parties, but there’s still a probability for it to be the latest addition to 2Baba’s record of having a hit song in circulation at nearly every point.

As much as his overall worth will never again be tied to whether he can score hits or not, 2Baba’s recent years have shown that he still has more to offer Nigerian music. He’s in that rare position where’s he’s not “only as funky as [his] next cut” like Andre 3000 said, but can also show up with widely enjoyable music when he wants without question. Over two decades in, he’s epitomising what it means to add to a legacy rather than solely resting on his many laurels. Well over a decade after springing back from a less than ideal position, 2Baba has remained relevant to an audience that’s figuring out how to pay attention to multiple generations of superstars at a time, and he’s setting the tone for what it means to be a long-serving artist in Nigerian music.

Featured Image Credits: Youtube/2Baba

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

THE INCREASING ALLURE OF NON-CONFORMITY IN NIGERIAN MUSIC

Emerging singer, Tori Keeche makes her Marlian Music debut

Posted on by The Native

The past week has been one of heated controversy for Naira Marley and his Marlian Music imprint, as Lyta’s debut single under Marlian records earned a flood of backlash for the video’s alleged copyright infringements.

Unveiling their very first female signee, who is already being referred to as the First Lady of Marlian Music (deep eye roll), Naira Marley is redirecting the conversation to spotlight a brand new talent, Tori Keeche.

From our extensive search, “Yoga”, which features Naira Marley himself, is Keeche’s first ever single. Perhaps this explains why the track opens with so much hand-holding from the label boss. With NM opening the track with bold statements about his big d*ck, Tori Keeche spends the first minute and a half of “Yoga” repeating after Naira (from a females perspective), as the two alternate appearances in quick succession.

Post-chorus, however, both Naira and Tori are allowed to dwell on their verses a little more and this is where we get a real look at the fresh meat. On this song at least, Tori Keeche seems to be a singer inclined to the dancehall vibes, and the carnal desires. Though her debut might sound like a party anthem, listen closely and, in true dancehall fashion, the filthy number seems more fit for foreplay.

Featured Image: Tori Keeche/Twitter

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

ICYMI: Listen to ‘Original Copy’ by DJ Cuppy, now!

The Cavemen release their highly anticipated debut album, ‘ROOTS’

Posted on by The Native

Right from their debut single, “Osondu”, the Cavemen’s immediate agenda was clear: they are here to build on the immortal blueprint of Highlife music, and play their part in extending the influential sound’s relevance in the most authentic way possible. In the past year and a bit, the sibling duo, comprising bassist Kingsley Okorie and drummer Benjamin James, have advanced their cause in meaningful ways, constantly raising the bar with subsequent singles, playing an integral role on Lady Donli’s critically acclaimed debut LP, ‘Enjoy Your Life’, and generally improving their profile as one of the most delightful bands around through their electrifying live performances.

All of this culminates into ‘ROOTS’, the Cavemen’s newly released debut album which they’ve been teasing since the beginning of this year, but working on over the past two years. Initially set for release on August 22nd, the pair have shared the album ahead of schedule, heeding the call of expectant fans and explaining that they also couldn’t wait another day for it to drop. In a weekend with a slew of new album releases from mainstream heavyweights, Fireboy DML, Cuppy and Adekunle Gold, the cavemen are hedging their bet on cutting through the stack with quality music that will be carried through word of mouth by fans and early listeners.

When we interviewed Kingsley and Benjamin for our recent Time Issue, they made it clear that they were making an album people can live with. “It’s long, haha, but you’ll sit with it because it’s great music,” Benjamin remarked about the hour-long album, a tricky proposition in the streaming era where more artists are prioritising brevity to deal with shortened attention spans.

Our “Welcome to the Cave” is a brief introduction to the sonic tour we’re about to embark on, a 2-minute announcing upon which The Cavemen reveal that “the cave is the heart of a man”. This opening track projects that the music, music that emanates from their heart, will change the world, starting small with Nigeria, bringing peace and unity to Africa and then the world.

From their living room, where this album was recorded, The Cavemen begin their journey to change the world by diversifying the Nigerian music landscape with a Highlife sound, that has been audibly omitted from contemporary music. Though we’d heard them perform alongside at Odunsi’s Lagos headline in December 2018 and a couple of weeks later at Lady Donli’s intimate performance at The Patio, it wasn’t until The Cavemen accompanied Lady Donli on her debut album, ‘Enjoy Your Life’ that we were fully clued in to their own musical tastes.

“I met [The Cavemen] first in 2018 at Tamerri festival in Abuja, and I was just in awe of their talent. I knew then that I wanted to be a part of their journey, so did what I could to in my capacity to just get them out there. From performing at my shows to linking them with all the musicians in my circles.” Lady Donli says of her discovery of the band and putting everyone on. Two years later and the two acts are two projects deep, as their executive production on Donli’s masterpiece has flipped into Lady Donli’s first A&R project on The Cavemen’s own debut: “Working on their album has been super fulfilling and I’m just so happy that it’s finally coming out. I feel like everything is coming full circle cause they worked with me on EYL and now I’m working on them with their debut.”

Deciding to “fill the vacuum for contemporary highlife”, The Cavemen share with NATIVE, ‘ROOTS’ is, as its name suggests, is produced in reverence to their Nigerian heritage and the music that coloured the country during its most turbulent times. The Cavemen’s service to their country is reflected even in the album’s artwork – courtesy of Atide Studios, a rising creative agency in operation between Lagos and LA – which non-coincidentally uses solely green hues: “The album art represents ‘community’” they reveal.

Beyond the lively album cover and The Cavemen’s traditional instrumentalism, the duo’s ‘ROOTS’ can also be heard through their lyrics, which are more often in their vernacular tongue, Igbo, than in English, an inaccessibility that actually elevates the album with its uniqueness and authenticity. Whether you understand the lyrics or not, songs like “Oge” or “Bolo Bolo” will certainly leave you feeling alright; and the times at which The Cavemen do adopt the common tongue, their breadth of experience is evident, with the enamoured description of falling fresh into love on “Fall” contrasting the pain expressed on the melancholic “Crazy Lover” that features a glimpse of femininity who drives home the sentiment of loss (“ey, you take my heart away”).

On first listen, the Cavemen seem to have achieved what they set out for. Comprising five pre-released singles and eleven new tracks, the 54 minutes-long set is packed with bewitching, colourful and easy listening grooves, resulting in an album that flows immaculately from front to back and favours repeat listens.

Don’t just take our word for it, listen to ‘ROOTS’ here.

Featured Image Credits: Twitter/staycavy

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ICYMI: READ OUR REVIEW OF BURNA BOY’s ‘TWICE AS TALL’

Listen to ‘Original Copy’ by DJ Cuppy, Now!

Posted on by The Native

Say what you will about DJ Cuppy, she has been working relentlessly over the past few years to get to this stage, and on first listen to her debut album, ‘Original Copy’, Cuppy’s hard work has paid off.

Initially making a name for herself as an afro-house DJ, Cuppy’s first venture into music-making, over six years into her DJing career, came as an instant hit. With the Tekno assist on “Green Light” DJ Cuppy’s musical debut was an inescapable bop that put the naysayers (of which there were many) to shame, however it didn’t manage to silence them. ‘Original Copy‘ should.

With a tracklist stacked with West African talent, some based at home and some over in the UK, DJ Cuppy’s debut album has been highly anticipated, for over a year now, by both fans and critics – the latter expecting more of Cuppy’s parody-like content, such as “Werk” and “Gelato”. The only hint of #that Cuppy is the witty title and eccentric video for the lead single “Jollof on the Jet”. Beyond that, ‘Original Copy‘ is a sturdy body of work, one that deserve all the attention its primed to get.

Beginning with a mission statement to rep roots, whilst creating globally appealing sounds using a concoction of music influences, on the jumpy “Epe”, DJ Cuppy starts the album with a strong afro-house groove that reminds us of where the worldly DJ started. Though we expected Efya to do a little more than vocalise, “Epe”, which emerges an intro, sets the bar incredibly high for the rest of the project. Here are my pick of the songs that live up to that bar:

“Feel Good” ft. Fireboy DML

Opening this funky record with his smooth domineering voice that rules over every beat he touches, Fireboy gifts us with the “JA RA E” of ‘Original Copy‘ – given all the room he needs to deliver a typically alluring sex-driven love song..

“Original Copy (Interlude)” 

Coming after the Darkoo-assisted, “Cold Heart Killer”– which is a solid number, but gets a little annoying after a while – DJ Cuppy’s foray into rapping regains control of the project. Ending the minute saying “I told my daddy I don’t need him no more/Baby boy you can catch me on tour/I’m the man/I’m the man/Original Copy, yeah I swear that I’m the man“, DJ Cuppy refuses to let haters use her father’s wealth as a tool to undermine her skill – hard to argue with that here.

“Karma” ft. Stonebwoy

A commendable stand-alone record, “Karma” is given a whole new lease of life on the album, standing out as a pop tune that I definitely wouldn’t be mad hearing played and replayed over radios from London to Lagos to Accra and the whole damn world.

“P.O.Y” – ft. Ycee & Ms Banks

A highly anticipated record, Ycee’s opening verse sets “P.O.Y” up as one of the strongest tracks on this album, as expected, Ms Banks knocks it out of the park. Though we wish Ms Banks had been awarded a few more bars to talk her shit, Ycee and Cuppy’s duet on as they chant “Kamikaze, on a Cuppy level” on the reverberated hook, soon distracts us from that blatant robbery.

Now, don’t get me wrong, ‘Original Copy‘ is full of bangers. It was a pleasure hearing Teni again on the Pheelz-produced “Litty Lit”, and noticing Cuppy’s singing improvement on “Cold Heart Killer”, and grinning in cheesy delight at Julian Marley’s astoundingly corny opening line “no place brightens up my world like Mama Africa“, on the Motherland-dedicated “54”.

Back in 2019, DJ Cuppy had threatened to quit making music after her debut album, telling on City 105.1 FM “At this point, I am committed to music and I just want to have a body of work there and quit. I don’t have to be here for a long time.“. At the time, I can’t say many people would have raced to dissuade her, but after hearing ‘Original Copy‘, there’s no doubt that Cuppy should be doing this. If DJing at Cactus on the Roof or hosting a radio show at Apple music is what DJ Cuppy is called to do, then making music is too.

Listen to the full project below, or on your preferred streaming medium via this Platoon link.

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

ICYMI: 5 TAKEAWAYS FROM FIREBOY DML’S NEW ALBUM, ‘APOLLO’

5 Takeaways from Fireboy DML’s new album, ‘APOLLO’

Posted on by The Native

The arrival of Fireboy DML’s sophomore album, less than 18 months after he broke out with the music video for “Jealous”, is something of a remarkable rarity in Afropop, where singles have ruled the music market for decades on end. But if we know anything about Fireboy it’s that he does not conform to any standards, not ones set by society or ones dictated by the industry, even if they seem to be the easiest path to success.

Nowhere is Fireboy’s self-ruling attitude more present than his latest body of work, ‘APOLLO‘. Dedicated to revealing more of himself, and his growth in the short time in which we have known him, ‘APOLLO‘ is a seventeen track course full of memorable moments, sonic highlights, lyrical keeps and emotive breaks, that keep listeners attentive throughout.

Lots stuck out to me upon hearing the album. From the very first lyric proclaiming his status as the Greatest, on the opening of “Champ”, Fireboy’s cocksure attitude shines forth, and on records like “Dreamer” and “Go Away”, his hopeless romanticism dwindles before our very ears. As ‘Laughter, Tears and Goosebumps‘ left us with a flood of emotions, including those three of course, ‘APOLLO‘ leaves its listeners with much to think about too. Here are my five takeaways whilst listening. (I’m in love with this project so feel free to Tweet me yours @dewoju)

1. Fireboy is blown 

“I be king, I’m the best my generation ever seen“, Fireboy opens ‘APOLLO‘ (named after the god of music and poetry). Through the first verse of “Champ”, he sings about his rapid accession to fame, professing that he is a king, a legend in the making and most importantly a champion – so the choir chanting the word would have us believe. Returning to the subject of fame for the pompous  “Lifestyle”, Fireboy introduces his preferred technique for handling the spotlight – ghosting.

“All the pressure and the wahala/I just wanna be alone/I don’t wanna see no message on my phone/nothing dey do me you should know/I just feel like I should do this on my own” he sings on his own dedication to the iPhone’s life-saving tool, “Airplane Mode”. On this moody number, Fireboy delves deeper into the pressures of fame; the overdose of carnal attention, competition from his peers and the unavoidable conflict that trails behind ever-increasing commas. Being blown is tough, ‘APOLLO‘ will tell you that. But Fireboy will also tell you that he’d have it no other way.

2. But he’s been through it

Though “Champ” is a boastful number towards its end Fireboy reflects on how far he’s come, singing of the start of his journey, “I’m the average boy from the average streets/with an empty pocket and a bag of dreams/many things wey him eyes don see/many tears wey him eyes don bleed“. Opening with bagpipes, the introspective “24 (Interlude)” is a rather gripping number that also reflects upon Fireboy’s life so far, in more detail, as he narrates his life, also chastising himself for the mistakes he has made in it so far, but ultimately concluding with the self-assuring lines “you go dey okay, you go dey alright“. Clearly, life has not been an easy road for Fireboy DML, but the trials haven’t simply ended with fame. Teaming up with his mentor – who would have no doubt imparted words of advice on how to deal with his newfound notoriety – “Afar” details the flip side of fame, the snakes, which Olamide biblically references as “Babylonian, Pharisees and narcissist”.

3. We’re left wanting more from the party songs

The first overtly dance-like song is the disco throwback, “Favourite Song”. Apart from the nostalgic feel and the commendable attempt however, “Favourite Song”, just isn’t that that. Fireboy’s lyrics are a bit more simple than we’d usually expect and the melody is a little too unimaginative it actually becomes corny. As Fireboy is a rather intentional artist, these elements to “Favourite Song” are likely deliberate, but for me, they just don’t work to produce the throwback pop song I’d sneak into my ’80s playlist. “Friday Feeling” is the same, not that it’s a disco song, just that it’s not it. Fireboy is pretty good at manipulating different musical fads, reimagining them into his own unique sound, but somehow, with “Favourite Song” and “Friday Feeling”,  it seems the clichés get the better of him.

4. Pheelz. 

Fireboy and Pheelz are truly a match made in heaven. Producing a total of nine songs, over half the project, Pheelz really brings the best of the best cuts for Fireboy, although Fireboy also has a very big hand in the production process, he says. I already mention the bagpipe intro on the interlude, and though “Favourite Song” and “Friday Feeling” weren’t my cup of tea, I must say that Pheelz did what he had to do on those numbers, especially the former record, for which he ditches all his usual production techniques for an authentically disco production.

Slowing things down for “Dreamer” and “God Only Knows”, Pheelz offers up more simple beats for Fireboy to kill. Incorporating a dreamy whistle over the chorus, “Dreamer” places emphasis on Fireboy’s favourite instrument, the acoustic guitar, whilst “God Only Knows” uses powerful drums to maintain its slow pace. Deep in his bag throughout this album, it comes as no surprise that Pheelz would produce Fireboy’s favourite song, delivering the perfect outro on “Remember Me”. Sneaking a flute into Fireboy’s final instructions to us to remember him, the breezy instrument plays us out with a descending skip, tying the album together in a touching end to the poignant final track.

5. Fireboy DML is a naughty boy

When the final promotional single, “Tattoo” dropped, we all began to wise up to the fact that Fireboy DML was a bit more lustful than his sparkly love songs on ‘LTG‘ would suggest. Singing, “Let me be beside you or maybe inside you” on “Tattoo” ‘APOLLO”s second track is an early warning of the sexy, libidinous Fireboy that is sure to be populating our TV and radio channels in no time. Other singles, “Eli” and “New York City Girl” include suggestive bars too, “She just needs some dutty love” and “I just wanna have a good time, maybe once maybe two times”, as well as the braggadocio “Lifestyle” upon which he offers to fly a girl out – to budget-debauchery’s capital city, Ibiza – after singing, “Many girls wey dey come find me, I no get time/But in the mean time, come give me something wey go ginger/give it to me while I lean back”.

Male singers are notorious for vocalising fictitious love songs that melt the hearts of their listeners, whilst, in their private lives, crushing every soul that crosses their path with a romantic unavailability that feels unimaginable considering their sweet incantations on their greatest hits. It is disappointing to hear that Fireboy was one of those dream-sellers, but it’s more a relief to know that he’s stopped lying.

Featured Image:

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

ICYMI: Review: Burna Boy’s Twice As Tall

A 1-listen review of Fireboy DML’s ‘APOLLO’

Posted on by The Native

In this new series, The NATIVE will be presenting one-listen reviews of some of the most-anticipated albums on the scene. As the review style suggests, all songs will receive instant reactions while being played – no skips, rewinds or pauses in between, just our honest, in-the-moment reactions to the newest projects in town. 

On November 25, 2019, Fireboy DML pushed convention aside in remarkable fashion. Due to the high level of pressure for a worthy first album, relatively new artists tend to push their debut full-lengths back in favour of slightly less gilded bodies of work like EPs and mixtapes. Not Fireboy. For the most part of the year, the singer was enjoying a breakout run after shooting into wider popularity with the widely loved “Jealous”, however, he used the high stakes of a debut LP to cement himself into a bonafide star by year’s end.

Critically well-received and a commercial blockbuster, ‘Laughter, Tears & Goosebumps’ was Fireboy’s epoch-making moment; it’s an album folding singer-songwriter curiosities into Afropop cadences, and took on a life of its own after it graced the ears of the public. Since its release, ‘LTG’ has now been regarded by many as one of the marquee debut albums in recent memory, and indeed, Nigerian pop music.

Rather than bask in the glow of this achievement for a long minute, Fireboy DML is back with his sophomore album, ‘APOLLO’, just nine months later. It’s a bold move, considering the stakes attached to following a celebrated album – you don’t want to fall into the dreaded sophomore slump just seventeen months after your break out. For Fireboy, though, this is the album meant to seal his entrance into the hall of the greats; a chance for him to start properly building his mythos and legacy. He doesn’t just understand the occasion, he’s added to the expectations and firmly believes he’s up to the task – our ears will have to be the judge of that.

“Champ” (feat. D Smoke)

2000s R&B guitar chords will never die. “I be king” is a daring way to start an album. I like that NEPA bill line a bit. Oh, we’re getting the choirs right at the start. Fireboy is pulling no punches from the beginning, he even came with the D Smoke feature (we see that EMPIRE connection already working). I can hear the joy and invincibility in D Smoke’s raps but this flow isn’t doing it for me – not a bad verse, could’ve used him getting into his Spanish, that always works on me. Fireboy is the manifestation of the Nigerian dream – or at least a version of this. “Champ” is the song you use in an aspirational ad, I can see the pitch in my head already. Solid intro, Pheelz is 1 for 1 on this album.

“Spell” (feat. Wande Coal)

Well, that’s one way to get attention at the beginning of a song. The swing of this beat is kinda cute, word to Sarz. Getting right into the loverboy bag from song two, as expected. I like the high pitch falsetto, it sells the idea of being hypnotized by a woman. I can spot some incoherence to the writing but the melody and cadence is covering that up pretty nicely. Wande Coal! He sounds good. This is his bounce, now that I think about it, like if “Again” had a more urgent bounce. Shit! Wande hit the high pitch and sent my soul into orbit. Wande hit a couple octaves in just a few seconds. This is a good song, will definitely revisit.

“ELI”

Pheelz keeps a special pack for Fireboy – you can’t tell me nothing different. I really like the beat of this song, it’s one of the things that stood out when it was first released. I’m happy I heard this song before I watched the video. Streets said this song has a D-O DNA to it, I don’t really hear it. I like the grunge to Fireboy’s melody, but I don’t know if these lyrics are for me, I can see a lot of people getting into though. This is actually a nice transition from “Spell”, selling different sides of being hypnotized. This guitar solo is from guitar hero, if you ask me – it sounds really mesmerizing but I can’t hear the technical edge.

“Tattoo”

Another single, perhaps the best of the pre-released bunch. “Make I be like tattoo for your body” is a funny way of expressing affection, they are almost always mistakes – ask the numerous people who have tattooed exes on their bodies. This song is quite steamier than anything Fireboy has done, it gives him some edge and I really like this edge. That Usain Bolt line needs to be stoned, I’m tired of trite references to the speed god. ‘Bamboo, cassava and other things singers have called their penis: A study’. LOL. Type-A brought that heat, these guitars are mint. “Tattoo” is my favourite so far. [He says only four songs in]

 

“Favourite Song”

Oh yeah! We’re going to the ‘80s! Meh, that opening is a little too literal for a party song. Eish, I want to beat these lyrics with a bat. This beat is extremely shiny, it definitely personifies the excess that ruled the ‘80s and got a certain current president bankrupt. Those horns are phenomenal. What is that tribal chant? Fucking hell, Fireboy needs to add some edge to his performance, he’s not the reason I’ll come back to this song to be honest. Fam, the Weeknd, Dua Lipa and Jessie Ware are somewhere shaking their heads right now. This breakdown is a mess, not even appropriate. Yikes.

“New York City Girl”

The first single. Many people didn’t like it, and I can see why. Of all of Fireboy’s love songs, this one sounds a bit uninspired. I understand wanting to spend more time with someone from out of town, but I can neither hear the urgency in a line like “run away with me”, nor can I hear any lasting memories being made in asking for one more dance. “NYC Girl” is not a remotely bad song, but it’s emblematic of how unbearable Fireboy can get when he’s too deep into his treacly, loverboy bag.

“Lifestyle”

This beat is jamming, this squealing guitar riff is a nice touch. That’s how you enter into a brag record. I caught that “Jealous” reference, this is good. My upper body is moving in agreement with this. Eish, that horn was too smooth to make an appearance. “I no dey online for two weeks/them say I dey ghost on them/na their own problem”. The rhyme scheme on this second verse is tough, this is a good run. Fireboy sounds really good bragging – he’s not exactly dunking on his opposition violently, but it’s a good breakaway run. I wish this hook was much catchier, though. Definitely running this back.

“Airplane Mode”

I don’t know if anyone can make a better song titled “Airplane Mode” than Odunsi, but I’ll like to see Fireboy try. This is quite honest. “So many legends dey, I’m just trying to be another one” is a bar. Pressure and success go hand in hand, the late, great Christopher Wallace said it best: “Mo’ money, mo’ problems”. This chorus is very relatable, if only a little too literal. “If no be love, na money palava.” Preach, bro! Eish, that beef line needs to go. Having to explain you want to do things on your own is annoying, I can see a lot of people connecting to this. Good song, I’ll come back.

“24 (Interlude)”

Bring interludes back 2020! The bagpipes took me out a bit. Success has toughened Fireboy a bit, I love it. “You are such a fool, how you go do this all for love?” I am laughing out loud. This has some honesty, but it’s also really funny.

“Dreamer”

I know these guitar chords from somewhere, fuck. Fireboy being jilted is top 2, that’s how he scored “Jealous”. Anyways. What kind of rhetorical question is this? Boy, pack your shit and move on. You know who’s going to like this song? Laycon. The production is a cacophony of “indie” clichés, the guitar, the strings and the drums with unorthodox bounce. Man, this song is so dramatic and I don’t even know how to feel. A sleazy electric guitar just landed in the mix and I know for a fact I won’t be playing this except I’m running this album back.

“Afar” (feat. Olamide)

Finally, we get to hear the mentor-protégé collaboration. Those chants are beautiful, the drums came in really good. Fireboy’s success has made him paranoid, damn. “Make them dey love me from afar” is relatable no matter how you scale it, everyone has people they want to keep away from. Olamide’s flow is very calm, it’s adding a poignant touch to his lyrics. These raps are cool and clear-eyed, nothing too crazy but they get the job done. This a solid chorus, it will likely stay in your head. “Afar” is the definition of an album deep cut, will revisit.

“Go Away”

Six more songs, yikes. ‘APOLLO’ has been moving briskly so far, but I can say there should have been cuts. Fireboy was pouring his heart out over piano before these grungy drums came in. Falling for someone who doesn’t feel the same is a shitty feeling, and Fireboy is doing well in capturing it here. Yikes, this second verse is filled with stock lines, thankfully we’re back to the chorus. Fireboy loves his chants, I’m not mad at them. This album has a few misplaced use of horns, which is odd because you really can’t fuck up horn placements, or so I thought.

“Shadé”

I already like this vibe even though I can tell it’s another “cute” love song from a mile away. Fireboy loves his acoustic guitar riffs, it suits his flair for R&B-inflected melodies. I like the juxtaposition between the production and the carnality in Fireboy’s lyrics, it’s complementary enough to work. This is the song you make after you’ve been awestruck by many beautiful women in the club, which I’m sure has happened to Fireboy a few times. This song has the potential to become a TikTok hit, just take the hook and make a waist whining challenge. It’s cliché but it’ll probably happen. 

“Friday Feeling”

Hold the fuck up! Is Pheelz sampling “Lagos Beat”? I hope my man is getting paid from this. This is the obvious club song, the spiritual successor to “Scatter”. This song is giving me Boboledu house vibes, like something Master KG could’ve made. Fireboy is not a great writer of party songs, but his vocal performance here is much more compelling than on “Favourite Song”. I’ll like to see how this does when clubs open up.

“God Only Knows”

P Priime tag always gets me hype, that guy has a blinding future. This has some orchestral magic to it, I like it. Like a wise man once said, I’m so sick of love songs – especially when they have this edgeless attitude to them. Tribal chants are played out, you guys. “If you give me one more chance, I promise I no go fall your hand.” I rolled my eyes so hard I probably saw the back of my head. I do have to say, Fireboy is singing his precious heart out and I can’t really fault that. An album with ten of these and Fireboy wins a Grammy for Best World album, quote me LOL.

“Sound”

Anything beyond 15 songs is overkill for me, except it’s Amapiano. This sounds quite big, I like big sounds when they are well done. “I’m not just a singer wey give you the ginger, I give you the vibe.” Is that a mission statement? If it is, then it’s not exactly original. Anyways, I like this song, it’s confident and confident Fireboy is him at his most compelling, if you ask me. Nothing about saying the sound is taking you far away is novel, but the execution is quality stuff. THIS IS HOW YOU USE HORNS! Pheelz laced this one properly, great bounce and bright colours to the beat. This is a definite keeper.

“Remember Me”

Final song. I’m not fatigued, but I’m happy we’re here because it’s been a good ride. The transitions on the back third of this album has been a bit clumsy, compared to the top half. I think it’s safe to say Fireboy has climbed to the top of the mountain, but remaining there and building a towering legacy is the harder part. Malcolm X said every man has a legacy whether they like it or not, and that changed the way I look at people who don’t want to be forgotten. I used to think it was overly egotistic, but I see why artists want their names carved in the hearts of listeners and stamped in the sands of time. “Remember Me” is a great outro, it’s very sentimental but in a positive way. Might not be the biggest song off the album, but it’s going to stay with whoever the message is meant for.

Final thoughts

In the months since his star-making debut album, Fireboy has amassed a wealth of experience that has played a role in helping him to become an artist with an increasingly complex persona. On ‘APOLLO’, Fireboy is not just the love-struck troubadour with party scattering bits on ‘LTG’. He’s now showing more dimensions to himself, expressing fears, worries and a burning desire to leave a lasting legacy.

As a relatively fresh-faced act, he addressed doubters on his debut with great hopes that he would manifest his potential – and he did. On a significant portion of his sophomore, he sings with the confidence of someone who’s proven himself, and those songs turn out to be the most compelling moments of ‘APOLLO’. The album is also rewarding for its slightly darker turn, with Fireboy exploring weightier themes like isolation, paranoia and just how much fame has impacted him.

At seventeen songs, the album definitely has its fair share of filler material, mostly coming in the form of standard fare love songs. At that, Fireboy’s innate ability to create interesting narratives and conjure melodies that oscillate between breezy and intense keeps things from being sleepy. He’s also assisted by maximalist production from Pheelz, Type A, iamBeatz and P.Priime. The beats aren’t ground-breaking, but they’re diverse and consistently crafted to serve as the perfect foil for Fireboy’s sensibilities.

What ultimately defines this album is that Fireboy is far from satisfied with just becoming a star; he’s determined to become like, or even greater than, the legends he looked up to, as he expressly states on “Airplane Mode”. It’s a lofty target, but he’s proven his commitment to growing upwards with ‘APOLLO’, overcoming the sophomore slump with relative ease and adding a consequential layer to the grand mosaic of his career.

Featured Image Credits: Fireboy DML/Instagram

Dennis Is Not An Interesting Person. Tweet Your Favourite Playboi Carti Songs At Him @Dennisadepeter

ICYMI: Review: Burna Boy’s ‘Twice As Tall’

We should be talking about plagiarism in Nigerian music videos

Posted on by The Native

Last Friday, Lyta put out his first official single of the year, “Hold Me Down”, along with a colourful set of visuals to accompany the song. Coming just a few days after the official announcement of his record contract signing with Naira Marley’s Marlian music, the release was only supposed to signal a new lease of life for Lyta – especially after a controversial exit from YBNL last year which led to him subsequently realigning himself as a veritable hot prospect in Nigerian music with well-received singles “Monalisa” and “Worry”, and a nomination for Next Rated at the last Headies.

Rather than the overwhelmingly positive reception Lyta would have been hoping for, “Hold Me Down” began to drown in a sea of backlash, after negative comments trailed the music video for being an alleged direct copy of “Just Right” by South Korean boy band, GOT7. The blatant similarities between the two videos were pointed out by fans of GOT7, and in typical K-Pop fandom fashion, they have been relentless in pointing accusing fingers at Lyta and the video director, WG Films.

At the moment, comments under the “Hold Me Down” video have been turned off, but if you were quick enough to catch them while they were up, the section was populated with GOT7 fans panning Lyta’s “copycat” video and urging other viewers to go see the “original”. Additionally, the ratio between likes and dislikes was grossly uneven, before those metrics were also rendered invisible, with thumb down hits far outnumbering those who hit the thumbs up. On Twitter too, relentless K-Pop fans have adopted #ApologizeLyta as the official hashtag, popping up under every tweet related to Lyta and his video, while also spamming GOT7’s record label, JYP Entertaintment, in a bid to get them to take legal action against alleged plagiarism, on behalf of their client.

Despite the backlash, however, Lyta and his team have treated these allegations with a levity that is now expected of Nigerian artists accused of unashamed imitation. A quick scroll through Lyta’s Twitter page shows the singer in full aloof mode, as he’s gone about promoting the new single, even though every tweet and retweet from him is being met by comments from GOT7 fans attempting to shame him and demanding he addresses the accusations. On Sunday afternoon, Naira Marley put out a tweet saying he’d spoken to Lyta’s mum and “she prayed for everybody in Asia”, since her son had now gained popularity on the continent, jokingly undermining their very legitimate anger.

In the closest thing to an admission of culpability, the director WG Films claimed he loved the video for GOT7’s “Just Right” so much, he decided to recreate it for Lyta’s “Hold Me Down”—but even the tweet proving admittance has now been deleted. The description on the YouTube page for “Hold Me Down” has also been changed to expressly state that the video is inspired by GOT7 and fellow K-Pop powerhouse, BTS. In doing this, the aim is to clearly stem all the negative reactions, even though the attribution is obviously after the fact.

Normally, all of this should be shocking, but for anyone who has been paying attention to music video plagiarism issues in Nigerian music, it really isn’t. In fact, we’ve developed a worrisome pattern of blatantly ripping off other sources, that dates back quite a bit. In 2013, respected veteran director Clarence Peters came under fire for allegedly replicating the central parts of American hip-hop super-group, Slaughterhouse’s “My Life” for the music video of Ice Prince Zamani’s “V.I.P”, and he returned to the headlines for the same reason in 2016, this time taking unfettered cues from Justin Bieber’s “Sorry” for Flavour’s “Dance”.

In all fairness, Clarence Peters has built an enviable resume since arriving on the Nigerian music scene since the mid-00s –he’s arguably the most celebrated music video director in recent times. Nevertheless, there’s still a relatively obvious credibility to both these examples when you place the contrasting videos side-by-side, and it begs the question of how many more instances we may have missed, especially if the “reference” clip isn’t a widely popular charting number. The internet has played a massive role in ensuring the world is becoming an increasingly connected, globalised village, and seeing as Nigeria has been playing catch up, it’s not far-fetched that many of these types of alleged discretions from the (somewhat recent) past may have flown under the radar with relative ease.

With the slow rise of internet penetration in the country and the increased global attention to Nigerian music, obvious biting can be caught much quicker these days – there are a few too many recent examples to that effect. Shortly after its release in April, TG Omori’s work in the video for Terry G’s “Adura” was under scrutiny for bearing identical similarities to the video for Swedish singer-songwriter, Neneh Cherry’s “Kong”. Shortly after it was brought to her attention, Jenn Nkiru, the British-Nigerian director behind the August 2018 released “Kong” video, called TG Omori out for biting her work without trying to put his own creative spin on it. TG Omori has yet to publicly respond to this accusation.

About a month before that incident, Davido’s video for “1 Milli” was in the news for similar reasons, with allegations that a scene had been directly lifted from the 2018 short film, “Entitled”, by British-Nigerian filmmaker Adeyemi Michael. A few days after the seeming connection was made, the director for “1 Milli”, Dir. K stated on his Instagram story that he was showing respect and paying homage to Adeyemi Michael’s work. For some, Dir. K’s statement coming after his use of another artist’s work was spotted seemed dubious, since Adeyemi wasn’t outrightly credited nor did it seem like his permission was sought before the video was released. Adeyemi Michael has yet to make a public statement concerning the recreation of his work, and that might just be because an agreement may have been reached (considering Davido’s established knack for properly crediting anyone involved in working on his music).

Inferences aside, these scenarios come back to a familiar yet murky question surrounding the rights of the creative being blatantly ripped off, and that’s the line between homage and thievery. The line between homage and thievery is hinged upon receiving permission and execution. In order to for a music video to be regarded an homage, the director needs to seek out their source, inform them of their intentions in advance and credit them publicly. Upon doing that, the director should interpolate their inspiration in a way that also takes cognisance of their own creative licence – basically, don’t do copy and paste.

Unimaginative copying seemed to be Jenn Nkiru’s main gripe with TG Omori, in her scathing tweet where she stated that TG Omori’s version of the allegedly cribbed scene “is trite af.” The truth is, no idea is entirely original and creativity is basically a form of regurgitating inspirations into something distinct. It is totally fine for directors and artists to take cues from pre-existing videos, but it’s embarrassing when the result is an exact replica of the inspiration, and even worse, when the person(s) being taken from has no prior knowledge.

Unlike in music, where the artist being plagiarised has a high, nearly clear cut, chance to take legal action and win (there’s even a name for it: sampling), music videos are far less certain, since the exact rights of the director aren’t as defined. The first issue stems from the fact that many reports about ripped off videos tend to refer to them as plagiarism cases, when in fact, they are copyright cases. The main difference between the two is, plagiarism provides cover for wrongful claims of authorship while copyright is solely focused on rights to creativity; the former is based on ethical grounds that’s pretty much rigid, whilst the other is focused on legalities which are ambiguous by definition. Plagiarism prevents people from passing off borrowed work as their own and copyrights protects against creative work being infringed upon without the owner’s permission, and the latter usually comes at a cost.

For example, when an artist is sampled, they are entitled to an agreed percentage of whatever music they inspired. The distinct qualities of the audio composition makes it easy for a copyright to be applied, such that any further use is largely subject to the discretion of the owner(s). For videos, however, copyrights are far trickier because of the unlimited number of combinations that are possible even when a frame-by-frame interpolation is being made. This difference is why a musical sample that’s been sped up or chopped beyond initial recognition needs to be cleared, but a blatant visual copy can escape legal retribution provided it isn’t claiming outright ownership of the idea from the jump.

In the case of Lyta’s “Hold Me Down”, it doesn’t take detective skills to see that the first half of the video is pretty much a photocopy of GOT7’s “Just Right” – but “pretty much” doesn’t equal exact. Despite following the same sequence, there’s differences in the colour, such that it can be argued that Lyta’s video is simply a harmless recreation. While doing research for this story, I found out that parodies are covered under the fair use side of YouTube’s copyright policies, meaning that Lyta and his team can even argue that “Hold Me Down” is a parody of “Just Right”, especially after they’ve now claimed they were paying homage.

Up till now, JYP Entertainment have yet to address this situation or hint at a legal suit, possibly owing to the complexities involved. If it was some form of musical theft, the case would have been shut alreadt, however, this is entirely different, partly because YouTube has its own difficulties monitoring and regulating against plagiarism and copyright problems when it comes to videos. Another hindrance could be that there’s a physical boundary between all the involved parties, with no international copyright laws to serve as arbitrator between them.

Every country and region has copyright laws and codes which are specific to them, and although both videos in this case are primarily hosted on the same virtual platform, where they were created needs to be taken account of. JYP cannot effectively sue Lyta and WG Films in their home domain of South Korea, neither can they do so in the U.S (where YouTube is based), and they very likely won’t come to Nigeria solely for litigation purposes. There’s every chance that they will file a complaint with YouTube – if they haven’t already – but it’s going to be really difficult for the streaming giant to see a motive to take down the “Hold Me Down” when its platform is choc-a-block with similar cases of theft.

As much as technical loopholes might help alleged culprits like Lyta get away with blatant acts like these, we desperately need to curb the acceptance of unimaginative copying in Nigeria, and hold ourselves to a higher standard. At this time, “Hold Me Down” has crossed the million views threshold on YouTube, no doubt an effect of the controversy that came with it. Yet, within the wave of negative reactions, Lyta, Naira Marley and several fans have been relishing the increased popularity the video has generated. In the Nigerian entertainment space, we’ve come to accept the idea that all publicity is good publicity, when in plenty of cases, bad publicity takes its toll on the perception of an artist and takes some time to overturn – just ask Skiibii.

Lyta and his team might be riding high on the buzz he’s generated, but embracing such infamy at a point where he’s still proving himself ultimately says a lot about the relatively non-existent standards when it comes to brazen creative theft. With the examples listed above and all the other ones that have receded from memory, the mind-set that you can’t shame the shameless is what many have seemingly adopted. If the fact that creative theft is simply theft doesn’t appeal to our sense of moral duty, maybe we can see the damage within the framework of how Nigerian music will be perceived on the global stage if we’re not clamping down on it at home.

Of the vitriol-laced replies to the above-mentioned Naira Marley tweet, one that struck me the most said: “Is this the future of Nigerian music? Singers with no integrity or originality.” While we’ve been able to contain the cases of Nigerians allegedly taking from creatives within our community, unlicensed and bland copying from K-Pop giants and other similarly veiled acts will bring in international coverage that will cast a dark cloud of mistrust as these types of reports accumulate. For the sake of our growing creative industry, this is the time to stop coddling, enabling or tolerating plagiarism and copyright infringements in our music videos. Lest we welcome the coronation of a new ‘Nigerian Prince’.

Featured Image Credits: YouTube/Breakfast Club

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

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