THIS YEAR’S LAGOS FASHION WEEK BROUGHT THE OCEAN TO THE RUNWAY

Desiree Iyama SS25. Photography by Outerspace

 

In 2019, a news report warned that the world’s coastal cities were at risk of being submerged by 2050 due to rising sea levels. Furthermore, CNN reported that Lagos might be uninhabitable by the end of the century for similar reasons. 2024 is coming to an end and despite being 25 years away from that outcome, the city’s fate has already come to pass – but not for the reasons predicted.

It is the 25th of October 2024 and every driver on Marina Road is committing the cardinal driving sin, texting behind the wheel. They have not moved for an hour plus and their cars are partially submerged. It has been a wet day and now passengers are playing quasi hopscotch as they try to keep their feet from getting soaked.

Mine are on the dashboard, as I head to the Federal Palace Hotel, Victoria Island, for the annual Lagos Fashion Week. I am relaxed because if I am stranded, then most people are too. Like Kuvira from the animated series Avatar, the floods of Lagos are a great unifier. The upper echelon who reside in Lagos’ wealthy but frequently-flooded enclaves might even argue that they suffer more.

That day would mark the second time I had found myself in water that month. By the 30th of October, that number would have risen to five. Yet the wet day at Marina is the only one that was not on my schedule. The rest were occupational bonuses, four fashion shows that had ocean-themed collections.

UNDERSTANDING THE LAGOS FASHION WEEK CALENDAR:

Each year, the final days of October are reserved for Lagos Fashion Week. The official calendar reads October 23rd to 27th. However, fashion insiders know that several private shows are held throughout the city the week before. There is only so much one can do in a week, so private off-site shows are organised by a select few brands. These shows appear on the calendar but are not open to the Lagos Fashion Week audience and are invite-only.

THE BANKE KUKU SHOW:

The first of these shows was the highly anticipated Banke Kuku show. At the beginning of October, the founder of the eponymous label, Banke Kuku, held a press conference.

 

 

In a Zoom meeting with tens of media houses, the soft-spoken designer read, “Did you know that there used to be dolphins in Lagos? Dolphin Estate got its name because that was a hot spot for dolphins migrating to the Southern African coast. I want to bring that back. I want to tell stories of how our coast once looked before the plastics pollution.” The 18th of October is still a week away and with just a few sentences, the show has already demanded everyone’s attention.

Kuku promised that her Spring-Summer 25 show titled Oceans would be a conscious fashion experience. The brand gained fame through its distinctive prints. “Each print is created by me, and this year’s is no exception.”

Kuku cites the Federal Government Of Nigeria’s announcement to ban single-use plastics from January 2025 as her inspiration. “I saw several comments about how unnecessary it was for the government to focus on that when we have bigger issues. This led me down a rabbit hole and I began to research plastic pollution. That led me to discuss how damaged our marine ecosystem is. The coast used to be pretty, you could swim on the beaches, and at Dolphin Estate, the water was shallow enough for you to pet dolphins.”

Kuku’s words led me down my own rabbit hole. Growing up, I assumed the Atlantic Ocean was ugly because the oceans I saw on National Geographic looked nothing like it. Then I saw more of the Atlantic Ocean and thought Lagos got the short end of the stick. There are no turtles to return to the ocean like in Florida, but hearing that if I was born long ago, I could have petted dolphins and bubble fish sounds impossible.

Nevertheless, Kuku’s story checks out as Forbes details the efforts the Biodiversity Preservation Center in Akwa Ibom is making to save the Atlantic Humpback Dolphins.

 

Green Bubble Fish Lycra Ring Dress by Banke Kuku.

 

Kuku wanted to remind the audience of these better days and her collection was an ode to that. According to Saharan Style, she teamed up with  Mikano Motors, MAC Cosmetics, Meeyas Jewels, Beauty Hut, Polo Avenue, and Moët and Chandon. The show was held at the Mikano Motors headquarters which Kuku transformed into an aquarium.

The jewellery and prints referenced marine life and watersports. Meeyas Jewels made dolphin and coral reef-themed pieces for the collection, with the standout piece being an 18-karat gold coral-themed choker.

 

Model wearing the 18-karat gold coral-themed choker

 

The garments featured aquatic flora and fauna motifs, including crustaceans and goldfish. The shapes were made to be fluid because the ocean is synonymous with movement. This form helped create a quasi-5D experience for viewers, including a bubble machine that was turned on when the free-flowy dresses with bubble prints walked down the runway.

 

Meeyas Jewels coral-themed jewellery

 

THE DESIREE IYAMA SHOW:

Another established designer who sought the waves for inspiration was womenswear founder, Desiree Iyama.

The eponymous label’s show at the 2023 Lagos Fashion Week was one of the year’s most talked about. Its Meraki dress became a fan favourite and was the subject of an online debacle earlier this year.

For its  2024 show, the brand took fans to the beach. The Lagos Fashion Week tents at Federal Palace do not give designers enough room for individual decorations, so on the 26th of October, Iyama had a video of the waters on a beach playing as models walked to the sounds of waves.

“Crab and Lobster/A Timeless Resilience,” she called the collection.  Iyama leans into her strengths, as she is known for her intriguing silhouettes. The collection also sees the return of the Meraki dress, this time in stripes and polka dots. The similarities start with the use of aquatic motifs but end with the animal choice; Iyama opts for Koi fish instead.

 

Photography by Outerspace

 

Iyama uses the ocean as a metaphor for the perils of life. “Each piece is crafted to empower, reminding you to seize life’s opportunities, and adapt uncertainty and thrive amidst life’s turbulent tides,” the press release read.

This is a befitting message for a show that was held a day after the streets of Lagos were flooded and fashion week guests faced a catch-22 obstacle; They either walked in the flood to get into the venue or sat in a 30-minute traffic at its gate.

THE EKI SILK SHOW:

As its name suggests, EKI Silk is home to some of the finest silk on the continent. Like Desiree Iyama, EKI Silk is a fashion week fixture and has redefined the way silk is viewed. “I want people to think about the prints too, they tell stories,” Hazel Eki Osunde, founder of EKI Silk, said.

The ever-charming Osunde states her focus is always on women. “Each piece in this collection was designed for the modern woman, graceful, calming, and flowy,” Osunde explains. “Inspired by the calming depths of the Ocean. I take you on a journey through the depths of the ocean; through the shades of blue and green; from the bright shallow waters to the tranquil abyss.”

 

Photography by Outerspace

 

Deep Dive by EKI Silk aims to astral project viewers into the ocean trench, dangerous, deep, yet beautiful. The collection palette stuck to shades and tints of blue, green, and black. The colours interacted with each other like the seaweeds in the ocean. Osunde took the Mariana Trench and made it into a print.

 

Photography by Outerspace

 

THE LFJ SHOW:

When it comes to consistency, Love from Julez, colloquially known as LFJ, is at the top of the game in Africa. The designer, Juliet Olanipekun, often creates cohesive collections that connect to their predecessors. Every collection feels like a sequel to the previous year.

In 2023, her debut Lagos Fashion Week collection was titled Under the Sea. She used jellyfish-like silhouettes to redefine the way our fashion industry relates to shapes. She returned with a similar outline, silhouettes and texture with this year’s Shores, where she told a story of migration and diversity.

 

Photography by Insigna Media

 

“Shores was inspired by the rich beauty and diversity of our coastline, as well as the powerful stories of migration, resilience, and hope tied to these waters,” Olanipekun explains. “Each piece reflects the contrasts and harmony between strength and tranquillity that you find at the water’s edge, as well as the vibrant energy of Lagos, where we began our journey.”

ABOUT THE TREND:

Fashion has always been a mirror for society and in Nigeria, it has become even more conscious. So just as skirt lengths can telegraph a country’s economic status, or an increase in fantasy-based experiences can be read as an attempt to boost the morale of its audience, social commentary is never far from the minds of Nigerian fashion designers.

Banke Kuku tackles this by telling stories of our history and teaming up with organisations to get young people excited about nature. As she disclosed, “I am partnering with Nigeria Conservation Foundation (NCF), we will be creating a project to build 100 trees.”

Desiree Iyama, Hazel Eki Osunde and Juliet Olanipekun approach this metaphorically. Crab and Lobster uses the waves and tides to represent resilience, Deep Dive reminds us that there is more to us than what meets the surface, while Shores focuses on the ocean’s animals, how diverse they are, and how they migrate and adapt.

The repeated use of the ocean as a key theme in these collections serves as a powerful reminder to remain hopeful. The city is not the same neither are we but the ocean has outlasted us. Nigerian fashion has taken a conscious turn and our designers want to entertain and yet inspire us.

As the city grapples with some of its darkest times, the display of creativity at Lagos Fashion Week highlights the potential for resilience and hope. They want to say to you that there is a light at the end of the tunnel; so instead they have their collections say: there is an ocean south of Lagos.

A LOOK INSIDE THE INDUSTRY THAT LAGOS FASHION WEEK BUILT

Kaly is a rooftop restaurant and bar lounge overlooking the Eko Atlantic. It is a hub for young adult Lagos-based influencers. However, on October 23, it became the venue for a party celebrating the first day of the Lagos Fashion Week calendar.

It is my third fashion week in Lagos and my favourite part of the show is the models. So when Nigerian supermodel, Rebecca Fabunmi, walks in, I see her and ask, “Are you wearing Lisa Folawiyoo?” She and everyone within a certain radius corrects my horrendous Yoruba, “It is Folawiyo.”

Then it hits me, everyone knows our designers. Our designers are praised and almost everyone at this party is wearing a Nigerian label. During a BBC Radio interview the next day, the host inquired, “If Nigerian fashion is to have a place on the international agenda, is it attracting the money because that is what it is about? And is that money going to support these younger designers?”

 

IN THE BEGINNING, THERE WAS TEXTILE

This question has troubled the Nigerian industry since the 2000s; how to make the fashion industry a lucrative one. The 2020s perception of Nigerian fashion is a far cry from its 2010s counterpart; back then, there was a stigma about wearing Made In Nigeria clothes that affected both the social and financial efforts made by our established textile industry.

In 2011, New Cloth Market published an article about Nigeria’s dying textile industry. A paragraph in the article states, “In any developed or developing economy, the indices used in judging growth is primarily based on the producing power of that country. Industries form the bulk of these indices. In Nigeria for instance, more than 80% of all finished consumer products are imported. Nigeria relies more on imports while its once vibrant industries are facing near extinction.” 

Nigeria’s textile industry was once one of the country’s most vibrant. According to New Cloth Market, it played a pivotal role in stemming the tide of unemployment between the late 1950s and early 1990s. This started in 1956, when Nigeria began to process locally grown cotton, and by the 1970s and 1980s, our textile industry was Africa’s third-largest. This period saw significant growth, with an annual expansion of 67% between 1985 and 1991, employing 25% of the manufacturing workforce in 1991. By the 2000s, rates were abysmal, with the New Cloth market reporting, “Exports of textile products dipped below $11m in 2008 from $44m five years earlier.”  Soon, the influx of cheaper textile products from countries like China would further erode the market share of Nigerian textile manufacturers, and the dream of Nigerians wearing home-grown garments as a norm, became more and more distant.

 

THE MODERN PERCEPTION OF NIGERIA’S FASHION SCENE.

In recent years, Nigerian fashion has experienced a remarkable surge in global popularity, captivating international audiences with its unique blend of traditional African aesthetics and contemporary design sensibilities. Today, the country’s high fashion community boasts household names like Kenneth Ize, Orange Culture, Tolu Coker, Tokyo James, Lagos Space Programme, and many more.

 

Heineken X Orange Culture at Lagos Fashion Week. Photography by Outerspace.

 

Its high street industry created a movement in Africa with breakout brands like Street Souk (the largest streetwear convention in Africa), WAF, Motherlan, PITH Africa, and many more. Even Nigerian subcultures such as the Alté community are forces to be reckoned with within the country’s fashion scene. In the words of South African fashion Tiktoker, Tanatswa Amisi, “Especially in South Africa, specifically in Johannesburg and the fashion community here, people are inspired by the Alté scene and I don’t even think they realise it.”

Nigeria has also become one to watch out for in the industry with homegrown fashion figures appearing on the Business Of Fashion 500 list over the last ten years.  In a discussion with the Kenya entrepreneur, Wandia Gichuru, founder of East Africa’s fastest-growing fashion chain, Vivo, she pays homage to the pace set by Nigerian fashion: “Nigeria’s fashion is ahead and established but here in East Africa, we are getting there. It is beautiful to see how far Nigeria has come.” Gichuru’s statement is reflected in other African countries according to Nigerian head designer for ATAFO, Mai Atafo. Atafo mentioned that he is frequently invited to design outfits for government officials in various countries. “They pay attention, they appreciate what we are doing and it inspires them.”

Nigeria accounted for about 15% of the $31 billion fashion market in Sub-Saharan Africa in 2015, and grew to 17% between 2010 and 2019, as reported by Business Day Nigeria in 2024. Lagos Fashion Week attracts the attention of international publications like Vogue, Dazed, and i-D. Several Nigerian designers have gained global success including Kenneth Ize, Orange Culture, Mowalola, Tolu Coker, and Banke Kuku.

 

ATAFO SS24. Photography: Kola Oshalusi.

 

HOW LAGOS FASHION WEEK CHANGED THE GAME:

One can not discuss fashion in Nigeria without mentioning Shade Thomas-Fahm. Born in 1933, she was the first fashion designer to open a fashion boutique, Maison Shade, in Nigeria. 

The now 91-year-old Fahm recently sat down with The Guardian’s Life Magazine to discuss how she built her career. During the interview, she noted the difference between modern fashion shows and what they used to be like. “When I came back to Nigeria, I was able to project fashion to the Nigerian people by hosting charity fashion shows,” she explains. She did not profit from the gate fees as they went to charity. Women’s organisations often asked her to create these events to raise funds; similar to Nigerian singer Tems’ annual wardrobe sale in partnership with Women at Risk International Foundation (WARIF).

The modern shows usually act as bridges to connect independent designers with buyers. The most renowned of these shows in Nigeria is Lagos Fashion Week, and it’s also the continent’s largest annual fashion show. Established in 2011 by Omoyemi Akerele, the show set out to bring the Nigerian and African fashion scenes to the global stage, by bringing together media, buyers, manufacturers and consumers. Akerele aimed to excite Nigerians about local fashion and help them see beauty in themselves. She reaffirms, “That is why after 13 years, we still strictly use Nigerian models. We are promoting Nigeria.”

Hazel Eki Osunde, the founder of Eki Silk, has been part of the Lagos Fashion Week family since its inception. “Lagos Fashion Week has had an incredible impact on EKI SILK, significantly elevating the brand’s visibility and credibility in the fashion world,” Osunde explains. “Through this partnership, EKI SILK has had the remarkable opportunity to have collections stocked at Selfridges, a pop-up at Bluebird in the UK, and even a showcase at Clarence House, where King Charles himself hosted an event before embarking on a trip to Africa. Such high-profile exposure would have been challenging to achieve independently.”

 

EKI Silk SS25. Photography by Outerspace.

 

Osunde also spoke about the exposure that comes with showcasing at the event. “In addition to these prestigious placements, EKI SILK has gained international media coverage in top-tier publications, including Vogue, Harper’s Bazaar, and the Financial Times.” She has been able to sustain her brand by relying on Lagos Fashion Week to do the heavy lifting when it comes to marketing.

Juilet Olanipekun of LFJ, who debuted at Lagos Fashion Week in 2023, believes that the exposure from the event is unprecedented. “Lagos Fashion Week has been pivotal for us,” she says. “The exposure and media attention have introduced our work to a global audience, and the platform has connected us with buyers, editors, and fashion enthusiasts worldwide. It has not only helped us grow our customer base but also strengthened our connections within the industry, leading to incredible partnerships and collaborations.”

Founder of Dust Of The Earth, Temetan Omolabake, made her debut as a finalist for Lagos Fashion Week’s Green Access Programme in 2023. This year, she returned to its runway as an emerging designer. For her, this was mind-blowing. “Looking back, the experience felt surreal, as though I was still lost in a fantasy world, watching my creation stride confidently down the runway.”

 

Dust Of The Earth at Lagos Fashion Week by Outerspace

 

The Green Access Program is a joint initiative by Lagos Fashion Week and Style House Files to promote sustainable fashion.  It supports young designers by providing resources and training to focus on eco-friendly practices like using sustainable materials, reducing waste, and creating long-lasting designs.

Akerele has set up products like Woven Threads, Green Access Programme, and XRetail to find and harness the next big brand. This year, she partnered with the global talent incubator Qaisimi Rising to boost newer designers in Nigeria. She has also held several advisory positions at Industrie Africa and Jendaya, and has been an advisor to the MoMA, the Victoria & Albert Museum, the UN, the British Fashion Council and the State of Fashion Netherlands. She takes care of the larger business propels designers to where they need to be.

In the last few years, the Nigerian fashion industry has seen an array of highlights, with 2024 being a banner year for Nigerian fashion, with several groundbreaking achievements. Designers Tolu Coker, Priya Ahluwalia, and Torishéju Dumi graced the cover of British Vogue, a significant milestone for African representation in global fashion, while Tokyo James made waves by taking over Milan Fashion Week, showcasing his designs on the international stage. 

Banke Kuku, a visionary designer, captivated audiences with her ocean-themed fashion show, a stunning collaboration with renowned brands like Mikano Motors, MAC Cosmetics, and Moët & Chandon. Her talent earned her a spot in Moët & Chandon’s prestigious cross-cultural exchange program, making her the first African brand to collaborate with the luxury house.

The momentum of extravagant shows began with ATAFO hosting a high-quality fashion show at Eko Hotel, showing the rising standards of Nigerian fashion production. Additionally, popular Nigerian artists Ayra Starr, Victony, and BNXN graced the cover of Teen Vogue, wearing designs by esteemed Nigerian brands like Fruche, Lisa Folawiyo, and Abiola Olusola, further elevating the visibility of Nigerian fashion on the global stage. The worldwide recognition of Nigerian fashion was further solidified by the inclusion of African fashion in prestigious exhibitions. The Brooklyn Museum showcased Africa Fashion from June 23 to October 22, 2023, while the V&A South Kensington hosted the Africa Fashion exhibition from July 2, 2022, to April 16, 2023. These highlighted the rich heritage, innovation, and diversity of African fashion, attracting international attention.

Nigerian fashion’s journey to global prominence is also marked by the recognition of talented designers like Kenneth Ize, who was listed by Vogue editor-in-chief Anna Wintour as one of the exciting young designers to watch. These achievements collectively demonstrate the growing influence and impact of Nigerian fashion on the global stage.

Lagos Fashion Week has undeniably played a pivotal role in shaping the trajectory of Nigerian fashion. By providing a platform for both established and emerging designers, the event has catalysed the industry’s growth and international recognition. 

As the fashion industry continues to evolve, Lagos Fashion Week remains a driving force, fostering innovation, creativity, and sustainable practices. By nurturing talent, connecting designers with global opportunities, and promoting African culture, the event has secured its place as a leading force in the global fashion landscape. In 13 years, Akerele’s brainchild has transformed the fashion industry and for the first time, we can proudly answer, “Yes, we are attracting the money.”

NATIVE HORROR STORIES: Witch Tree On This Haunted Hill Shall I Climb Into?

A horror story written by Verem Nwoji

Written by The NATIVE – 13.Nov.2024





She was thirteen, and they were bougainvillaea but she thought they were hibiscus. Because she was thirteen, she didn’t know any better. What she did know was that in the dry season, they went very well with the blondes of the spear grass along the way. “Don’t touch the grass, people pee on them,” she had once been warned by a well-meaning stranger, but she didn’t mind. To her, it was the smallest price she could have been asked to pay for her art.

 

Her art, was the intricate weaving of bougainvillaea and spear grass and a third item that would often reveal itself eventually. On some days it would be a perfect white feather that would randomly drift down from the sky, on some other days it was the black tape from an old cassette. Most recently they were two plastic straws, one blue and one pink, she would weave them all together into a crown, a crown that she would wear for all of five minutes.

 

There was this gutter that always flowed with water regardless of the time of the year. A perpetual hotspot for all the chickens and goats, they would come by for a drink of water and a place to sit. The thick moss that clung to its sides kept thousands of resident tadpoles well-fed. She had even seen a little fish once during the rains. It would be at this point that Salome would take off her crown, gently placing it into the gutter just to watch it float away. That was of course until she was scolded by an old woman for throwing rubbish into the gutter and clogging it up. So she decided to just set them by the side of the gutter and keep walking.

 

Why didn’t she ever take them home? She should have kept them as a prize, a reminder of the beauty she was able to see and make. But no, she would not, because the flowers would surely wilt and be reduced to dust as will all beauty. The only thing that truly lived on was the spirit. That was what her mother believed. Her mother had been named Alice at birth but had since changed her name to Hagar; after the woman who had found rivers in the desert. Her story had been much like hers; counted out and cast aside by the man whom she had built her entire life around. Only to find herself pregnant with Salome.

 

With a baby and nowhere to go, she’d come to the end of herself but somehow, she had been spared and so had the child. Every moment after that would become a prolonged display of gratitude by the abandonment of all pleasures of the world.

 

They had no television, one CD player for listening to taped sermons and gospel albums. No smartphones except for the desktop that was powered on every Sunday so Salome could practice her typing. They went to church twice during the weekends and three times during the week. Her mother’s eyes were watchful, so watchful that they became oppressive.

 

It is said that no fingers are equal but Salome didn’t realise just how short the ones she’d been dealt had been. There were small differences at first, like being the only child in her Primary 1 class who came without a lunch box. As expected, children grow older and learn to compare their lives and by the time she was eleven, she was no stranger to the fact that her school fees were never paid on time or that her mother did not talk or dress like the other mothers at the school and that quite frankly, she terrified them.

 

Her classmate Stella had once pointed out that she smelt of fish, this could have been because their house doubled as a cold-room. It was all she’d ever known, but she learnt very quickly not to share as freely as she used to. How could she tell anyone that her mother still bathed her every night? Or that the real reason why she wasn’t at school last week was because her mother had been convinced that she was possessed by a demon. Or how that she was only allowed to have the first meal of the day by 6:00 p.m. and another just before midnight because to deny the body was the consecrate the spirit. The one that never wilted.

 

And so her days were governed by hunger, the kind that swirled like a whirlpool in her stomach all morning and then was reduced to the trickle of surrender by late afternoon. Sluggish, sleepy and unable to concentrate in class, every school day was a limerent blur, a long corridor leading to the next holiday.

 

Holidays meant time in Mama’s house. Mama was her mother’s mother and the only member of her extended family she was allowed to speak to or spend time with. That was until two years ago when Hagar came to the sudden realisation that just like all her brothers and sisters, Mama was also a witch. But Mama did not seem to be a witch to Salome, she only seemed to believe in a different thing.

 

She once told her of Tsav – magic, the light and the dark, and the mysterious wonder. She had just finished Primary 5 and was spending what would be her last holiday with Mama. She was sitting on the floor of the veranda, a few pages into Things Fall Apart while Mama sat on a stool, slicing up a yam for pottage.

 

“Hmm,” she set the book down on the floor, Mama kept slicing.

 

“This book is something else,” she added, hoping to pique Mama’s interest.

 

“What happened in it?” Mama asked setting the half-sliced yam down, giving Salome her full attention.

 

“There was this man that had a swollen stomach, instead of them to try and treat him, they sent him to the forest to die.”

 

“That’s how it was during our time too, although it was not that bad, there was a hospital but it was very far from my village,” Mama reminisced.

 

“So what if the person was so sick that he could not walk and did not have anybody to carry him?”

 

“That did not usually happen, somebody would always help unless he was known as a very bad person, like a thief or a part of mbatsav,”

 

“What is mbatsav?”

 

“Those witches and wizards, those wicked people that sit in trees at night and turn into birds.”

 

“My Social Studies teacher said that those are superstitious beliefs,”

 

“Then he doesn’t know anything,” Mama’s face grew serious.

 

“It’s a woman,”

 

“She doesn’t know anything. This book you are reading…it is this man; I’ve forgotten his name.”

 

“Chinua Achebe,”

 

“Yes! Achebe, Igbo man. I don’t know too much about their culture but for us it is different, that swelling of the stomach, for us is usually because of Tsav.”

 

“So, somebody caused it?”

 

“No, some people have that witchcraft, that Tsav inside of them, for some it’s in their chest around their heart. Some in their stomach, when they die like that it is because it is finally their turn.”

 

“How is it their turn?”

 

“Everything comes with a price, when these people see, it’s not with an ordinary eye, if they say something bad will happen, then it will happen. They are very dangerous.”

 

“Mama, you’re scaring me,”

 

“Yes, you should be scared, they look for little children like you to join them. That’s why your mommy is always warning you not to follow people to their houses or eat their food,” so she’d always known that it was wrong. In fact, her grandmother’s words came back to her at that very moment but how could she resist of all things in this world, the whirlpool?

 

She hadn’t always been an unusual girl; her name was Hadiza but they had once called her Izzy. For their first year of secondary school, she was that small and mild-mannered girl in class that everybody liked – to the secret envy of Salome, an emotion she so often denied. And then one day, with a of snap of the finger that took the passage of several months to actualise, everything changed. She was still the smallest girl in class but she was also intimidating to be around. And while she was still as mild-mannered, there was a lethalness woven into that nature. And so, no one liked her anymore, all her friends grew terrified of her. Terrified in the same way the other mothers were terrified of Hagar.

 

Everyone said that it was just puberty but to Salome, it was almost as though what lay at the very essence of Hadiza had shifted out of her body and floated away forever. She took no joy in the things she once did. During breaktime, she would go to the far end of the compound sit at the foot of the dogon- yaro tree and watch the vultures swarm in circles or the clouds as they go by. She spoke to no one except for some reason, Salome.

 

The first time it happened was during Science Class, they were taken out to the school field in search of mimosa pudica. She pointed at a mushroom growing out of a log of half-rotten wood and said, “This one is poisonous,”

 

“How do you know?” Salome asked, to which she shrugged and walked away. Over the next few weeks, she would drop in with an enigmatic one-liner and each one left Salome with more puzzled than the first.

 

“Birds are beautiful,” she said once when Salome stood behind her on the assembly line.

 

“I hate this man so much, he doesn’t know who he’s playing with” she declared after their maths teacher, Mr Sani sent them to kneel outside on the sharp-sand for being the only two people in class who didn’t get his ‘word problem’ questions right.

 

“The sun is competing with the moon today, but the moon will win,” she was wistful that mid-morning when the white of the moon had still not faded into the blue of the sky.

 

“He’s not coming back to school on Monday,” she said on the last day Salome or anyone else saw Mr Sani.

 

On Monday, the Vice-Principal called for an emergency assembly. She looked like she had tried to put powder on her face to conceal her puffy eyes but gave up somewhere along the line.

 

“Mr Sani, our beloved Mathematics teacher for the junior classes and Physics teacher for the senior classes has gone to be with the Lord,” the words escaped from her lips with a thin shakiness that was foreign to her entire vocal register.

 

It was pandemonium; starting with gasps, then murmurs filled with disbelief. Soon, several hands were placed on heads and it was not long before the tears came. And those tears quickly turned to wails, not because Mr Sani was the most beloved of staff or the most pleasant person to be around but because for so many of the children who stood in the sun that morning – although not strangers to the concept of death, it was the first time anyone they knew so closely had died. But Hadiza was not surprised, not even by the slightest and Salome looked back just in time to see her lips curl into a small smile.

 

Salome grew terrified of her, if Hadiza was taking the left, she would take the right. On assembly days she would stand at the front of the line so Hadiza would not speak to her. Avoidance was her strong suit; it was how she survived living with her mother, she could make herself small and invisible and passive and agreeable. And she had to, it was either that or running, which was something she wasn’t any good at.

 

She couldn’t break free and run down the street like other children did when their mothers descended on them with a cane. She couldn’t pack her bags and steal away into the night in search of a new life like her neighbour’s daughter once did, she just wasn’t brave enough. Hagar knew this, that was why she did what she did. That was why on the day she saw Salome speaking with a boy, she pushed her into the bathroom and pulled down her skirt to search her.

 

“Girls your age, you only think of one thing. How to know men! How to be used by them. You’ve let him spoil you, haven’t you?” her words were drunken with rage.

 

“No mummy, I’ve not!” Salome could only cry.

 

“No matter what I do, you’re dirty and full of sin. A waste of God’s mercy!” Hagar said all those things because the girl had nowhere else to go, no one else to turn to – just like her, and so she wanted Salome to feel just as dirty and as hopeless and as full of sin as she did. And after a full week of exorcism from the spirit of Jezebel was completed, Salome’s own spirit was almost as broken.

 

“Run, run, run!” The P.E. teacher clapped behind the line of girls and off they went. In the heat of the afternoon’s frustration, he’d set eyes on a group of girls sitting in the shade of a cluster of small trees, pleased to not partake in any of the sporting activities. Salome was one of them and probably the most nervous about being rounded up for a race.

 

To her surprise, she was off to a great start, Half of them were chubby girls who felt too self-conscious to put in as much effort and the other half were popular girls who thought they were much too pretty to be seen wholeheartedly running to win a race. She on the other hand was running just so the race could be over.

 

She was the first to touch the wall, turn around and head towards the finish line. Halfway through, everything started to blur and blend into each other. The white shirt of the P.E. teacher faded into the greens of the grass, the trees, the blues of the sky and the parked school bus. Her feet grew heavy, the whirlpool was taking over.

 

“Keep going! Don’t stop,” the P.E. teacher’s voice was adamant even through distortion.

 

‘I can’t keep going,’ she protested in her head but her body kept moving and she finished the race.

 

“Good job, you see how exercise is important?” Ignoring her teacher’s praise Salome went to the tree furthest away from where anyone could see her and leaned on it. Certain she was going to throw up, she wretched but nothing came out.

 

“Salome, are you okay?” A shadow stood over her, it was Hadiza.

 

“I’m fine,” Salome straightened up and adjusted her uniform afraid to look back at Hadiza.

 

“You’re always hungry in school but you don’t like to beg people for food,” Hadiza took one step closer, the sound of her shoes treading the fallen leaves were ominous crunches.

 

“You’ve been avoiding me, I thought we were friends” she added and Salome for the first time, looked back at her. She was holding a steaming hot eggroll gently cupped between her palms. The aroma hit her
nose instantly.

 

“I’ve not been avoiding you.” Salome’s lie didn’t sound believable, not even to her.

 

“It’s okay, I’ll still be your friend even if you don’t want to be mine, I bought this eggroll for you to eat.”

 

She thought of Eve and Esau, both cheated out of inheritances because of food, she knew she should not but she also could not help herself. If she did not have something to eat at that very moment, she felt as though she would die.

 

And so, she ate of the sugary dough, and the egg white and the sweet yolk.

 

Her mouth grew bitter on the walk home, her hands shaky as she wove green palm fronds into a wreath. On the dirt road, she saw the shadow of a bird hovering above her but whenever she looked up she only saw a perfect blue sky.

 

“Go away from here!” the old woman screamed as she set her wreath down by the edge of the gutter.

 

“And carry all that rubbish away with you, foolish girl, don’t you know your age?” the old woman kept going.

 

“You’re dirtying the whole neighbourhood, as big as you are what is wrong with you”

 

“Stop shouting at me!” Salome screamed back much to the surprise of the old woman.

 

“So you talk back to elders? Who is your mother? She must hear about this!” Salome was too out of it to feel immediate concern, she just walked away instead secretly wishing that if the old woman found out who her mother was, she would not be able to say a word about it to her.

 

But the bird never left her, its shadow followed her until she was inside the house. That night she heard a screech from outside her window and a tap on the glass. She covered herself with her blanket not daring to open her eyes.

 

The next day at school, Hadiza walked up to her with a big smile and asked her if she had slept well and before she could think of a lie to tell, Hadiza had walked away. That girl had done something to her. So she followed her; during break time, she walked to the far end of the compound where the tallest tree stood and hid behind a shrub. There, she saw Hadiza standing with her back facing the tree, she took slow steps backwards until her back was pressed against the tree, and spread her arms out wide, moving them backwards until they were wrapped around the tree trunk. And just like that, she started to climb the tree with her arms and her back. Salome’s heart was like an anvil pounded by a hammer, when she gained control of her shaking body, she went back to class, grabbed her bag and fled the school through the hole in the fence at the back of her class.

 

But the bird was with her at all times…

 

The bird would screech five times and by the sixth, it would materialise from the darkness and shadow, its tall silhouette framed by the stray spectres of moonlight. On the first night, she screamed and the bird vanished.

 

“What happened? What did you see?” Hagar burst into her bedroom seconds after, her wrapper clinging to her chest for its dear life.

 

“I had a bad dream.” Salome tried to slow her breathing.

 

“Yes, I know that but what did you see?” Hagar seized her shoulders as though she would draw the answers out from them.

 

“I saw a bird,” Salome responded at last, making no mention of Hadiza, afraid of what the consequences of that would be.

 

“Ah, a monitoring spirit!” Hagar declared, “I have fought their kind countless times and the victory has always been mine.”

 

Hagar soon sprung up from the bed and jolted out the door returning with an entire pack of salt and a pair of scissors.

 

“We will bind that evil from coming near this house,” Hagar snipped the salt open; she licked her finger and dipped it into the salt approaching Salome with her finger stretched out.

“Lick the salt” she said and Salome did as she was told. Hagar slowly lined a border of salt in a semi-circle around the bed and lines along the windowsills and the door. As she did this, she muttered unintelligible words to herself and the bird did not come the next night.

 

Then there was the first screech. The second. The third. And a brief pause, just to let the fear sink in. The fourth. The fifth. There was no way the bird could come inside, at least not with the salt in place, right? But after the sixth screech, the bird was there.

 

It took one step and then the next, looking down at the band of salt and then back up at Salome. It took a step back then three more forward, crossing the arch and Salome could feel her heart drop to the depths of her bowel. She should have screamed like she did the other night but the bird spread its wings and they were wider than her entire bed, it took one quick flap for it to perch at the edge of her bed, pulling the frame down with its weight.

 

It was then she saw his face for the first time and all thoughts of crying for help were abandoned. She had never seen a bird like that before. Eyes facing forward, those eyes were grey just like it’s feathers, and they stared into her eyes like a man would, intimidating her into the silence of a quivering lip.

 

Its beak was long, almost as long as it was and had something stuck between it, something that was dripping onto her blanket. It quickly fell from the bird’s beak, landing with a gentle thud and just like that, the bird was gone. She got out of bed and turned on the lights and the wetness on her bed was in the unmistakable shade of blood. The wetness on her bed was in the unmistakable shade of blood and at the centre of it all was a lump of flesh. A human tongue.

 

Salome couldn’t concentrate in class, she kept thinking about the tongue, how she folded her sheets and soaked them in a basin of water and bleach and flushed to tongue down the toilet. Although Hadiza was not in school, she felt her oppressive presence everywhere.

 

“Auhhhgh !!!” the old woman let out a throaty moan the moment she set her eyes on Salome, her granddaughters tried to soothe her but all she did was point at Salome and groan. With more eyes turning to her, Salome quickly hurried home and straight into her bedroom with the full knowledge of whose tongue had been delivered to her the night before.

 

The sun was setting and Salome had completely forgotten about dinner until Hagar walked into the room.

 

“Why didn’t you come to pray and eat?” Hagar squinted with suspicion.

 

“I was feeling feverish,” Hagar put the back of her hand on Salome’s forehead.

 

“Your body is not hot.” Hagar walked around the room, nothing was out of place, so she went into the bathroom.

 

“Why is your bedsheet still soaked in water? And why…” her voice trailed off and Salome knew that she had seen something. She emerged from the bathroom with wide eyes and dilated pupils.

 

“Why is there a tongue in your toilet?”

 

Salome got up from her bed backing off towards the bedroom door.

 

“You devil! Don’t you dare try to run? I command you!” Hagar’s voice held more fear than it ever did power.

 

And just like that, Salome took to her heels running faster than she ever had before. She ran past all the houses and all the unhappy street corners until she found herself on the very top of a hill. It was dark and she was all alone.

 

She saw the bird fly across the sky and then she heard Hadiza’s voice echo with the timbre of her grandmother until they were one and the same. ‘I’ve been waiting for you Salome, climb up the tree and join us. ’

 

“Which tree?” she looked up to the empty sky and asked.

 

‘Look around you , ‘It was only then that she finally saw the majestic tree that stood on the hill. She walked to the tree and leaned her back to it, of their own volition, her arms wrapped backwards against the tree. She saw herself go higher and she could hear her bones pop and crack, twist and shatter and the pain was the sweetest

Picture of Verem Nwoji

Verem Nwoji

Verem Nwoji is a writer, poet and scaredy-cat, so you can imagine how thrilling of a challenge it was for him to write this story.

Not one to back down from a challenge, he is the author of the self-published poetry titles “outside” (2023) and “inside”(2024), all the while working as a screenwriter and studying Law.

He was the winner of the Random Photo Journal Prize for Creative Writing 2024 and a finalist for EbonyLife Media and Sony Pictures Television International’s Aló Writer’s Initiative 2021.

Cruel Santino’s Unpredictable Journey Continues With Dazzling Art X Live! Performance

Cruel Santino is a shapeshifter. Emerging over a decade ago with the eclectic ‘Diaries Of A Loner’ mixtape series, the enigmatic rapper and singer has continually reinvented himself, drawing on a myriad of influences that range from Hideo Kojima’s legendary video games to veteran rapper 2shotz. 

 

Words don’t do Santino’s fluid music justice, you’re better off just pressing play. That’s the only way to truly experience the breathless flows and numerous anime or movie references he can load into a minute detail, like a floor-model television; it’s also the only way to find yourself unabashedly screaming: “I had to run! I had to run! ” even when there’s no cause for alarm. This unconventional approach to making music that’s replete with local and foreign influences has helped Santino subvert expectations and existing industry structures at every turn in his accomplished career while creating unique and storied records that have garnered cult acclaim and have also found expression on multiple live stages, dorm rooms and moshpits. 

 

 

After a brief hiatus following 2023’s delightful ‘Cincinnati Pumpin!!’ that looked to augment the eerie and ever-expanding Subaru Boys universe, the talented Edo native recently graced the Art X Live! stage for its ninth edition alongside others like S-Smart, Aniko, and Fuji legend Adewale Ayuba. The annual show’s latest edition looked to offer a mix of genre-bending sounds and styles from both visual artists and musicians like Santi who delivered a memorable set that included cult classics like “Sparky,” and “Rapid Fire” as well as deep cuts like “TAPENGA” from the thematic ‘Subaru Boys: FINAL HEAVEN.’ He was also joined onstage by fellow alte star Boj who assisted him in performing their new duet “Borderline” before closing out with a couple of more fan favourites. 

 

Shortly before taking the Art X Live! stage, we caught up with the talented singer and rapper for a quick conversation about live performances, his music-making process and the influence of indigenous music on his ever-evolving sound. 

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This your first time going on stage since when? 

 

Shit. Since December last year.

 

How does it feel like to be going onstage again after almost a year away?

 

Honestly, it’s nerve-wracking. I took a break this year to work on a genuine piece of media that I’ve never worked on before. I’m talking about the manga that I just made. I tried to finish it this year. All my life I’ve wanted to make films and just something else aside from music. But yeah, it’s always nerve-wracking when you are coming back onstage for the first time in a while. Especially for someone like me who is always in his house, seeing so many people can be a little stressful but yeah, it’s my job.

 

How do you think you’ve been able to deal with the nerves over the years?

 

So the thing is I wear glasses, so I don’t see when I’m on stage. I think that’s the best thing honestly. If I could see, I’d be focusing on too many things. Not being able to see much of what is going on helps me be present and just be myself. 

 

Do you have any favourite memories from performing on stage? 

 

I feel like that was Paris. Everything about my Paris show was insane. It felt like I was with every Santi fan in the world. It didn’t matter what I did, everyone loved it. It was fucking crazy. 

 

Still speaking about live shows, do you think they affect your music-making process in any way? Do you think of how your songs will translate live while creating them?

 

Oh yeah, for sure. In the past year, I think I started experimenting more with live music. Also, I think in the scope of where my mind is right now, a lot of my songs are kind of indie and they’ll be great live. When I make a song, I definitely think of how it will sound live. Right now, I’m even trying to build a band with like two girls who could have background vocals but for all the crazy stuff that I say sometimes. 

 

This year’s ART X Live! looked to connect the dots between the past and present sounds of Nigeria. How much of an influence do you think these indigenous sounds have on your ever-evolving sound? 

 

First off, I think homegrown music is the foundation of my music. I don’t think I’ll be able to make anything if not for that. It’s crazy because I know a lot of people think my music has more foreign influences. The thing is, foundationally, I’m brought up on all the sounds and songs that a lot of us grew up listening to. But also, I have a distinct thirst for music in general and I just want to hear different stuff. I wake up every day thinking what is this new thing I can make? In fact, I think right now, a lot of the stuff I’m making is heavily influenced by local music. It’s deeply rooted in the Mo’Hits, 2shotz, BigLo, Sauce Kid, Naeto C era. 

 

The thing is, some people might see this as nostalgia but then I play it for some of my younger friends and they have no idea where some of the influences come from. What’s crazier is that no one has progressed these sounds or tried something new with them. 

 

Speaking of progressing sounds, is that what the goal is generally with your music?

 

I’m not gonna lie to you, the reason why I don’t make the same thing is because progression is all that matters to me. It’s a gift and a curse but I don’t care about anything else. It’s like making a film. Your new film has to be better than your last film but it shouldn’t be the same thing you made before. Music is like the same thing to me. 

 

How Zinoleesky Fell From Grace

‘I left dem posts on my Instagram, so you can see there was a turning point.’ Those are the famous opening words from “Gone Far,” one of Zinoleesky’s many inescapable hit singles from early in his career. The posts on Instagram that the Lagos-born singer references are the numerous freestyle videos that he and a bunch of other spirited street artists from Agege popularized in the late 2010s. While these videos were mostly populated by eager, high school graduates with lofty ambitions of blowing, Zinoleesky stood out for his dulcet style which favored Fuji-inspired melodies instead of the more traditional rap style that his friends and industry peers opted for. 

 

This unique and assured style coupled with his sharp, witty lyricism is what helped propel him to fame; scoring a sleeper hit with the Lil Frosh-assisted “Who Knows” before eventually signing to Naira Marley’s Marlian Music in December 2019 after attracting interest from several top labels in the country. In the years that followed, Zinoleesky stood out as perhaps the most exciting Street Pop artist to have emerged in Nigeria in the last decade. The singer’s relatable tales of strife and hustle, memorable one-liners and salient counsel from his sage mother were expertly folded into melodious and irresistible earworms that helped earmark him as one of Afropop’s next great hopes. Not even the web of restrictive COVID-19 regulations that plagued his breakout year nor an inauspicious encounter with operatives of the National Drug Law Enforcement Agency a couple of years later could derail his seemingly unstoppable momentum.

 

 

The evening of September 12, 2023, however, represented another turning point in Zinoleesky’s career when news broke that close collaborator and one-time Marlian Music signee Mohbad had died at the age of 27. While initial reports indicated that the “Feel Good” singer died from complications linked to a respiratory infection, the wider details of his illness and eventual death remained suspiciously vague as conflicting narratives began to emerge. This inspired a fiery #Justice4Mohbad outcry on social media which prompted the Lagos Police Command to launch an independent inquiry into the mysterious circumstances surrounding the singer’s death. The public curiosity also began to unearth details about Mohbad’s hostile exit from Marlian Music, as many pointed accusatory fingers towards label boss Naira Marley who Mohbad had previously accused of sending hooligans to physically attack him after he left the label.

 

While Zinoleesky stayed silent as the entire ordeal unfolded, a heart-rending clip of Mohbad expressing how he felt betrayed by Zinoleesky during the NDLEA fiasco and the ill-treatment he received from Naira Marley surfaced online, causing many angry fans to demand that Zinoleesky speak up and give some clarity to the accusations made against him and his label boss. The sort of maltreatment and bullying that Mohbad was subjected to was something a lot of young Nigerians could relate to, so they were not going to let up until they got some answers. The 24-year-old, however, maintained his silence, causing many to believe he was complicit in Mohbad’s abuse and eventual death. Days after the clip went viral, numerous radio and television stations across the country placed Zinoleesky and Naira Maley’s music catalogue on an airplay ban. Wale Babalola, a United States-based music promoter who heads Fathia Entertainment Showbiz, also announced that he had canceled Zinoleesky’s scheduled US tour. The entire Marlian Music label was caving in on itself and Zinoleesky’s seemingly unstoppable career was trapped under the rubble. 

 

Months after Mohbad’s death, Zinoleesky resurfaced online, announcing the release of a new single titled “Sakara.” The reception to his comeback was predictably sour as many Nigerians had seemingly canceled him and vowed to never support or listen to any of his music, new or old. In addition to radio and TV stations banning his music, he’d also been blacklisted by numerous platforms and online publications. Several reputable brands and fellow artists also distanced themselves from him as he was noticeably not getting booked for any shows or collaborating with his peers. He had become bad market – a pariah. 

 

If there was any doubt about where public perception of Zinoleesky stood in 2024, we can look at the public reaction when rising talent Minz released his official debut album ‘By Any Minz’ which included “Sokoto,” a pre-released single featuring Zinoleesky. Even though the song was recorded and released prior to the Mohbad debacle, it didn’t stop many fans from questioning Zinoleesky’s inclusion on the album. A tweet by Minz defending his choice to include the singer on his debut was met with even more backlash, highlighting how opinions about the once-beloved singer have drastically changed as well as the efficacy of cancel culture in Nigeria. 

The independent investigation that the police launched into Mohbad’s death is still yet to be resolved. A contentious autopsy report from earlier in the year stated the cause of the late singer’s death could not be determined and there’s yet to be any notable progress since then. So it only makes sense that many Nigerians are still furious about the situation as details of Mohbad’s unfortunate demise remain vague while Naira Marley and Zinoleesky, who many still believe are somewhat culpable, roam free. And while this is not the first time an artist has been accused of committing a crime or being complicit in harmful behaviour,  it appears this is the first time cancel culture is having any real effect in Nigeria.

 

In 2020, the same year that Zinoleesky broke out, a woman named Seyitan Babalola accused D’banj of forcibly gaining access to her hotel room as she slept and raping her. She made these allegations on Twitter (now X) and made an official report to the police three days later. D’banj publicly denied the allegations and days after Babalola had made these allegations, she posted another statement on Twitter, describing how officers had forced their way into her apartment, arrested her and detained her overnight without charge. She further explained that she was coerced, and intimidated in person by D’banj and his team to retract all statements and to announce that her testimony was all a publicity stunt. Shortly after this statement, all of Babalola’s posts were deleted from her personal Twitter account and replaced with tweets claiming to retract her allegations, along with videos promoting D’banj’s music. 

 

 

While this situation also sparked some online outrage, it was not nearly as serious as the outrage sparked by Mohbad’s death. And for his part,  D’banj simply carried on with business as usual even though he had allegedly raped, abducted and coerced a woman into retracting her statement. The famous singer was neither deplatformed nor particularly blacklisted in the way Zinoleesky and Naira Marley have been. Two years on from the rape allegations, D’banj was revealed as one of the judges of Nigerian Idol and he continues to be celebrated even to this day, underlining the levity with which many Nigerians regard an endemic problem like rape and sexual abuse, a grossly inefficient justice system as well as the considerably high bar for getting ostracized or canceled in Nigeria.  

 

For many who have refused to boycott some of these controversial acts, the rationale ranges from outrightly choosing to believe the allegations levied against them are false even in the face of overwhelming evidence to the agelong concept of separating the art from the artist. The latter is more common; trying to focus on the intrinsic value of art rather than the actions or transgressions of the artist. While this concept is as nuanced as they come and I believe that art can and should be separated from the artist, ultimately it boils down to what your values are. Unfortunately, it appears for many Nigerians, the bar for refusing to separate an artist from their art is when it involves death. 

NATIVE HORROR STORIES: Girls Who Flew At Night

A horror story written by Gabrielle Harry

Written by The NATIVE – 8.Nov.2024





They’re whispering again. I wish I had someone to whisper with.

Mr Ibekwe’s spit is raining down on my desk as he asks for my Maths note. I see the curl of his lip and his palm flexing against the smooth, skinny cane and I know I should be worried, but my entire body is humming with curiosity. There is no space beneath my skin for fear. He’s running his thumb against the cane, like it’s a comfort, like he’s appeasing it, reassuring it that it will soon bite into soft skin. I imagine it coming down on my palm, whistling through the air to land sharp and stinging.

 

I do not care. I just wish I knew what they were saying. They’re talking about me. I know from the way their whispers glide up my spine, the way their eyes slither down my face and chest and knees.

 

It’s nice to be looked at. Not the suspicious way my classmates look at me, as if I’m going to report anything they say to a teacher. Or the bored looks teachers give me when I ask questions. Or the cursory glances my parents toss at me during the holidays to confirm that I’m still alive before their eyes glide inevitably to my brother Ime, like moths to his bright, charming flame.

 

They look at me like they’re curious.

 

Edisua and Grace are similar, but you wouldn’t know by looking at them. Edisua is tall and lean-limbed and plain-faced while Grace is the shortest girl in SS1, chubby with delicate, striking features that won her the title of Red House Princess last year even though she was a junior. It’s their eyes, I think. That’s what makes them look alike. There’s a knowledge there that makes them look older, wiser. I wish I knew what they know.

 

They’re best friends. They must be. I think of them as a unit, a single entity with one murmur of a voice.

 

Grace has been my classmate since JS1, but Edisua is new. Our class teacher Miss Benson ushered her in unceremoniously one Wednesday in the middle of Easter term, about a month ago. I knew the girl was strange from the first time I saw her with her lazy eyes and too-long neck. Who starts a new school during second term? Who steps into a new beginning on a Wednesday?Her eyes slid over our faces with mild curiosity, as if we were the ones who should be nervous. I felt her eyes on me and looked up. Looking her in the eye felt like electricity, like suffocation, like falling, a shock to all the senses. She cocked her head in mild interest and turned her gaze to Grace, where it settled. That’s when she chose her. Since then, they’ve been inseparable.

 

I watch them sometimes, taking leisurely walks around the field after afternoon prep, Grace listening intently to the words falling carelessly from Edisua’s mouth, their hands clasped between them as they giggle. I always wonder what they’re giggling about. I want to know what’s funny. I want to be interesting enough to make someone laugh. Maybe even Edisua.

 

I fish my textbook out of my schoolbag and hand it to Mr Ibekwe. He flips through the pages halfheartedly and passes to the next desk disappointed, with his cane hanging limp by his side. He stops abruptly at Edisua’s desk.

 

“You!”

 

Edisua turns her head to him slowly. Edisua never hurries. Whether she’s lifting a forkful of bland Tuesday coconut rice to her lips or skimming her pen across a page, there’s a measured quality to her gestures, as if she’s spent time considering each twitch of muscle, each jerk of her joints. As if she has all the time in the world.

 

 

By the time she turns her head to fully face Mr Ibekwe, his annoyance has risen. His temper has always been bright and hot, but what we all really hate about him is how plainly he enjoys inflicting pain.

 

He wags his cane at Edisua, “Where is your Maths textbook.”

 

“I don’t have one.”

Mr Ibekwe’s smile slices his face in two. He has thin, sharp canines which make his glee a ravenous-looking thing. Edisua looks almost amused.

 

“You don’t…have one.”

 

“No. The bookstore said…”

 

“Stand up!” he shouts, tapping the cane sharply on the floor. She should be pasting a remorseful look on her face, staring down at her shiny black ballet flats, anything but shrugging nonchalantly and continuing to speak. But she’s completely unbothered, and she does exactly that. I cringe as she continues.

 

Mr Usman said there are no more copies of New General Maths at…”

 

We hear the cane before we realise what has happened, a high whistling sound like the wind whipping through the trees just before a storm. It lands with a crack on Edisua’s arm. He didn’t even bother to tell her to extend her palm.

 

Edisua touches the tips of her fingers to the spot on her arm where the cane landed, then slowly looks up until her eyes are locked on his. My skin prickles as they continue to stare at each other.

 

“Shut up! Stupid girl…did I ask you to–”

 

He chokes on his words.

 

Someone at the back giggles as he hacks out a cough. Then another. And another. The cough takes hold of his body, shaking his shoulders and snapping his neck forward. No one is laughing now.

 

The chords of Me Ibekwe’s  throat strain against the skin of his neck as he clutches it, struggling to speak. His eyes redden and begin to water as he falls to his knees and begins to wheeze. Tobe who sits in the front row begins to scream and the class prefect, Eni runs out to get help.

 

Edisua says nothing. She just continues to hold his gaze until he’s lying flat on his back, with drool leaking from the side of his mouth, tears streaming sideways into his ears as he whines pitifully. Then she smiles and looks away, and Mr Ibekwe sits up suddenly, coughing and gulping mouthfuls of air.

 

Edisua sits back down without being instructed to, smoothing the starched white sleeve of her uniform. She sees me staring at her and smiles. I smile back before I can catch myself.

 

*

 

That night, I don’t sleep. I toss and turn, my mind calling back the image of Mr Ibekwe on the floor, helpless and clutching for breath. I feel my heart slapping at my ribs, blood rushing to the tips of my ears. I can’t get it out of my head. Mr Ibekwe with his biting insults and smooth, long cane, curled on the floor like a rumpled gala wrapper, and Edisua standing over him. I let out a long breath.

 

On nights like this, when I can’t sleep, I like to sneak up to the balcony on the third floor of the hostel. It’s the only balcony that faces away from the teachers’ quarters, and Matron never has the energy to climb all the way up there. Because of this, the third floor balcony is a place where things happen.

 

Chizoba Ejiofor once waved a red bra like a flag at Jeremiah Cobham from there. Joyce Inyang insists she saw the ghost of one of the hanger-aborted babies the SS3 girls keep telling us their seniors used to throw away like rags. Or was it the ghost of one of the hanger-wielding seniors? I try to remember as I push open the termite-eaten door. Slowly, so it doesn’t creak.

 

The night air is different here, like a cold palm caressing my cheek. It’s only when I’ve shut the door with a conclusive click that I realise I am not alone.

 

Edisua and Grace are leaning on the chipped popcorn concrete of the balcony railing. Edisua is whispering impatiently at Grace. Grace’s eyes are watery and red.

 

“I can’t!” Grace says.

 

That is when Edisua turns to me.

 

“What’re you doing here?” she asks, like I’m a fly she’s found nestled in the middle of her Saturday morning akara.

 

“The same thing as you,” I respond. I try to punctuate it with a sharp hiss, but it comes out wrong, like the buzz of a drunk mosquito. Why does this girl always make me feel like an insect?

 

Edisua walks toward me until her nose is an inch from mine, “Are you sure?”

 

I feel my head nodding, even though I didn’t instruct it to. I swallow and rub my fingers together nervously. My palms are sweating.

 

“Alright,” she nods, “You can stay.”

 

“What do you mean she can stay?” Grace whines.

 

“You heard me. Now do it.”

 

“Edisua, I can’t. I really can’t.” Grace shakes her head vigorously.

 

My curiosity beats my confusion and I ask “Can’t what?”

 

“Jump,” Edisua says simply, pointing over the balcony.

 

“What?” I ask. But she’s already turned her attention away from me.

 

“Do it…” she pauses for a second, a thick, weighted second.

 

“Do it now…or you’re not my best friend anymore.”

 

“I said I won’t!” Grace snaps, then runs back into the hostel with a click of the balcony door.

 

“Well,” Edisua says when she is gone. She considers my face like I’m a shirt she’s assessing for stains. She walks up to me and holds my hand tentatively. She looks so sad. I want to fix it.

 

Do you want to be my best friend, Ini?”

 

I’ve never heard her say my name. It sounds like a discovery on her tongue. Last week during morning devotion, the chapel prefect, Esther Oghenevo spoke to us about old things passing away. When Edisua says my name I feel my sins sloughing off. Sins of silence, of fear, of unimportance. On her tongue, in her hand, I am a new creature.

 

Suddenly my mouth feels full of spit. I’m afraid that I’ll drool if I speak, so I just nod.

 

She smiles, and it’s so stunning, so brilliant—like the sun has risen at midnight.

 

“Good.”

 

She reaches into the deep pocket of her thin sky-blue nightgown and removes a packet of biscuits.

 

“Let’s share,” she says, handing it to me.

 

The pack fits neatly into my palm. The packet has no brand name, just a swirling red and black logo that makes me dizzy after a few seconds of staring at it.

 

I tear it open, and the biscuits inside are round and cakey. Edisua watches as I bite into one. It’s sweet and thick, sticking my teeth together as I chew. I have to struggle to swallow it. I almost spit it out, but I don’t want to insult Edisua by not enjoying her gift.

 

When I’m done, she smiles at me and takes one for herself. We chew in companionable silence, and she tells me about her mother’s chicken stew and a new pair of high, high silver heels her sister has just bought. I nod along smiling, swallowing spit to try and get the taste of sweet metal off my tongue.

 

 

*

 

 

They find Grace’s body the next morning. Folded neatly on the ground below the third floor balcony. She is unbroken, unbleeding and still, lips peeled back from her teeth, mouth wide in a final scream.

 

The matron calls the guards to clear away the body before the breakfast bell, but not before JS2 chatterbox, Ibinabo Green sees it through her room window. She is the one who describes the body and face that once belonged to Grace to us, between gasps and sobs.

 

“She…she…she…” the girl mutters, the first time any of us have ever seen her short of words.

 

Classes are cancelled that day. During night devotion, Matron says a tearful prayer for Grace’s spirit. I hear a muffled sound from Edisua. Joy Akande, the most wicked girl in SS2, walks over to her and rubs her back with a pitying look on her face.

 

But I know Edisua is not crying. She’s holding back a laugh.

 

The next morning, while I’m swirling my watery oats in my breakfast bowl, Edisua sits next to me.

 

“Hi,” she drawls.

 

“Hi,” I respond, after a pause.

 

My heart is slamming against my ribs. My breath is catching against the rungs of my throat. I feel every hair on my forearms stand at abrupt attention. Self-preservation is a muffled whisper in the back row of my mind, telling me I should be afraid. Mrs Bala taught us about animal instincts in Biology last term. About lust and fear and hunger. She said fear is a safety mechanism, nature’s way of warning us.

 

“Grace,” she says the name like it’s something rotten, something she wants to use the roof of her mouth to scrub off her tongue, “Grace was a bad friend. She didn’t trust me. Will you trust me, Ini?”

 

Her eyes are wide and watery as if she’s scared I will say no. As if I could.

 

I know then that something is broken in me, that something has overridden sense and safety and nature, because when Edisua whispers “If you trust me, meet me at the third floor balcony tonight.”, I simply nod and swallow a spoonful of oats.

 

*

 

My roommates should not be sleeping so soundly. The door to the third floor balcony should not be unlocked. It should not be so easy for me to oblige Edisua. But it is. And I’m here on the bacony. And so is she.

 

She takes my hand, and my lungs cease to function.

 

“Do you know why you’re here?”

 

I shake my head, afraid to speak, afraid to shatter the moment.

 

She frowns at me, “Yes you do.”

 

She pulls me to the railing and taps it with her slender index finger.

 

“Climb over.”

 

I can’t refuse. I throw a leg over so I’m straddling the railing, then cast her an uncertain glance.

 

She nods encouragingly, “The other one.”

 

“I…I’ll fall.”

 

“I won’t let you. Don’t you trust me?”

 

“I do.”

 

And that’s all it takes. I inhale a deep, shuddering breath. I keep my eyes on hers as I lift my other leg over the railing. I’m dangling, gripping at the pockmarked paint of the thick railing. I feel my fingernails scrape against it, but I don’t let my eyes leave hers.

 

She peels my thumbs off the railing, then my index finger. I gasp helplessly, but I don’t scream. She takes both of my hands and for a moment I think she’s going to pull me back over and tell me I’ve passed her test. That I’ve proven my loyalty. And then she lets go, and I drop.

 

But I don’t fall.

 

Her eyes are holding mine, and I am standing on air.

 

She giggles and claps as I levitate, gasping at the impossibility of it. She lunges over the railing and spins around me.

 

“Come,” she takes my hand, “Let’s fly.”

 

Crisp wind floods my nose and chest and throat as I let a wild laugh escape me. Edisua’s hand is in mine. Her eyes are on me and for tonight, we are the swirling sisters of the wind.

 

 

*

 

I’ve never had a best friend before. Yes, I talk to my classmates. I eat dinner with them. I lend them my pens. But no one has ever mattered as much as Edisua.

 

We do everything together. From the wake up bell to lights out, we’re attached at the hip. And everything is so much better with her.

 

We walk past a pack of sneering senior boys and they split like the Red Sea and allow us to pass. Teachers think twice before scolding me. During devotion, Matron punished everyone in SS1 for not clapping hard enough. Except me and Edisua. I am untouchable now.

 

One night, as we stand staring down from our spot on the balcony, Edisua passes her fingers over my scalp, trailing them between the ridges of my braids.

 

“Your hair is rough,” she notes.

 

I run a self-conscious hand over the top of my head.

 

“I hate how tight the hairdressers braid. And whenever I ask Vivian or Temi to do my hair, they tell me they have to finish doing their friends’ hair first so…”

 

Edisua smiles and places a reassuring hand on my shoulder, “Don’t worry, I’ll show you how to do your own hair.”

 

“You will?”

 

“Yes,” she nods, “Get a comb, a mirror, some hair cream…and a towel.”

 

When I come back with the implements, Edisua is sitting on the night-cooled tile. I join her there. She unwraps the towel and takes out the comb, mirror and cream I’ve nestled within it, handing them to me before gently spreading the towel over her thighs.

 

“Now, watch me.”

 

I don’t know why she thinks I need to be told.

 

I stare unblinking as Edisua grips her slender neck with both hands. And then she begins to twist.

 

I swallow a gasp, but I sit still. I don’t want her to think I’m a baby or a coward.

 

Edisua’s head begins to inch to the side, little by little, cracking and popping with every movement, until she’s rotated it completely and I’m staring at the back of her head.  Her neck is corkscrewed into a misshapen mess. The way her skin twists and strains reminds me of the Saturdays when my roommates and I wash our towels, the way we wring them out, two girls to a towel, straining as we try to get out every last drop of water.

 

She keeps contorting her head until she’s facing me again, smiling. And then she grips it firmly, her thumbs just below her ears, and takes it off.

 

The beginning of a scream leaks from my mouth, but I suck it back in as quickly as it escapes. I will not disappoint Edisua with my fear.

 

She drops her head on the towel and wipes her palms on it. Her neck is a wet open wound, like a tender, jagged rose blooming from between her shoulders. I wish I could reach into it, feel warm flesh in the heart of my palm, have her blood seep under my nails and dry there, stay there.

 

“See?” Edisua’s head says from its perch on her thighs, “Now you can do your hair whenever you like.”

 

I nod shakily.

 

“Okay. Your turn.”

 

“What?” I feel a knot form in my throat.

 

Edisua picks up her head and places it neatly back on. I squint to check for gaps, for scars, but I find none. The skin of her neck is soft and smooth and seamless, like it’s always been.

 

“Don’t worry,” she grazes my cheek with a bloodstained thumb, “It’s easy.”

 

And it is. As she twists my head off my neck, I focus on her palm against my cheek, her nails digging gently into the back of my head. She lifts it gently from my shoulders and I feel the night breeze tickling at my bared flesh. She laughs at the shocked look on my head as she drops it on her lap. What little pain there is is swallowed by my awe.

 

The pain is a gateway to discovery, to the knowledge that a girl can come apart bloody and bleeding and raw, and then reassemble herself into an intact thing with a full-bodied laugh.

 

Edisua tugs at the end of my braid. “Next time, you’ll do this yourself. But tonight, I’ll help you. What style do you want?”

 

“All-back.”

 

*

 

The day Mr Ibekwe returns from leave, it rains.

 

Edisua and I are bundled in duvets, reading borrowed books and enjoying our Saturday, when a junior barges in, panting.

 

“Edisua, Mr Ibekwe is calling you. He says before he closes his eyes and opens them, you should be in the staff room.”

 

I don’t expect Edisua to care enough to hurry, but she does. The rain beats down on my newly braided hair as we run to the admin block without an umbrella. I wait outside the staff room as Edisua goes in to answer Mr Ibekwe.

 

After waiting ten, fifteen, twenty minutes outside the door, I start to worry. Not for Edisua, for Mr Ibekwe.

 

When Edisua comes out of the staff room, the shoulders of her shirt and the tips of her hair are still wet with rain, and her smile is almost sad.

 

“What did he say?” I ask as we walk back to the hostel. It’s only drizzling now.

 

“He said I was never going to pass his class and that he’s going to make my life miserable.” Edisua giggled, “And he called me a little witch.”

 

I’m silent for a moment.

 

“Are we?” I ask, “Are we really witches?”

 

Edisua stops walking and turns to me, “What is a witch?”

 

“I…I don’t know.”

 

Edisua frowns and shakes her head impatiently. She doesn’t speak again until we get to the hostel.

 

As we head upstairs, she says “We’re not going to the balcony tonight. But we’ll still meet up.”

 

“Where?” I ask, confused.

 

Instead of answering my question, she says: “Make sure you don’t eat dinner.”

 

*

 

That night, I dream of flying.

 

I’m twirling weightless through a bloodred sky, hand in hand with Edisua, and my chest feels so light I could float into the sun and burn into a joyous burst of ashes.

 

And then the dream shifts and we are in a white room, wearing white robes.

 

In front of us, there’s a table with all my favourite foods. I see the egg rolls I used to buy every day during break time when I was in Primary 4, my mother’s abak soup with melt-in-your mouth fresh catfish, the Sizzlers shawarma my father would buy to apologise after calling me useless, the roadside zobo Mrs Bassey bought us after we won the spelling bee in JS2 and in the middle of the table, a heaping plate of peppered chicken thighs perched with translucent rings of onion and chunks of tomato, like the ones Edisua got a cleaner to smuggle into the hostel to cheer me up after tmy parents missed visiting day.

 

My mouth waters as I stare.

 

“Is this for us?”

 

“Yes,” Edisua smiles.

 

I reach eagerly for a piece of the chicken, but Edisua grips my wrist.

 

“Before you eat,” she says, “Let me ask you something.”

 

I nod, waiting for her question.

 

Edisua’s face straightens abruptly, with no trace of the smile that was just there. In a flat, thick voice, she asks:

 

“Are you a witch?”

 

Red light stains the white walls of the room, and the smell of blood floods my nose.

 

I look down at the table and scream. The plates are filled with meat. Raw, red, bloody meat. No, not meat. A body in pieces. Shy pink lungs. A gleaming liver. Two plump eyeballs. A large , muscled, twitching thigh, jugs of thick, syrupy blood, and at the center, a still-beating heart nestled in a butterflied ribcage.

 

At the back of my mind, behind the fear and panic, is a stray thought that this is almost beautiful. Did she do this herself, I wonder. Lay this all out so prettily for me?

 

“What is this?” I finally manage to ask.

 

“It’s Mr Ibekwe.”

 

“Oh.”

 

“I asked you what a witch is earlier, and you couldn’t answer. Well I’ll tell you. A witch is a girl who is free to fly at night, a girl who can take herself to pieces and remake herself whole, a girl who takes revenge in flesh and blood. I’m a witch, Ini. Are you?”

 

I consider the table carefully. I pick up the pumping heart. It’s warm in my hands. I dig my teeth into it and blood bursts on my tongue. It’s sweet. I didn’t know blood could be sweet.

 

I look up from the heart in my hands, at Edisua’s face. She looks so proud of me.

 

“What else do witches do?”

 

Edisua smiles and takes my hand, “Whatever they want.”

Picture of Gabrielle Harry

Gabrielle Harry

Gabrielle Emem Harry is a Nigerian speculative fiction writer. She won the 2024 Nommo Short Story Award, was shortlisted for the 2024 Writivism Short Story Prize, selected as a 2024 Voodoonauts Fellow and a 2023 LLEAA Fellow. Her work has appeared or is forthcoming in Strange Horizons, Logic(s), The Year’s Best African Speculative Fiction Volume 3, Afterlives: The Year’s Best Death Fiction, the Flametree Press African Short Ghost Stories Anthology, Omenana, Apparition, Isele and more. Her favourite stories are the ones that feel like dreams.

BLACKLIST WEST AFRICA RETURNS WITH ITS THIRD EDITION, IN COLLABORATION WITH GUAP MAGAZINE

In spite of stifling government policies and harsh economic realities, creators across West Africa remain dogged in pushing the envelope of culture, expanding and reimagining experiences for African youth, both locally and globally. Celebrating these creators who keep pushing the boundaries of culture is not only essential to acknowledging the present but also to forging a future that honors the innovation and rippling influence of culture changemakers.

 

The third installment of THE BLACKLIST, in collaboration with our friends at GUAP Magazine is an initiative set out to celebrate the remarkable individuals who are not only defining but actively transforming West African culture. By giving them their flowers in real time, THE BLACKLIST ensures these trailblazers receive the recognition they deserve, amplifying their contributions and inspiring the next generation of creatives and visionaries. This list underscores the importance of honoring culture-shapers while they’re making history, not just in retrospect.

 

This year, we highlight 15 of the most iconic voices propelling West African culture to new heights. From groundbreaking visual artists to visionary thinkers and creators, these individuals are crafting a legacy of empowerment, resilience, and innovation.

 

 

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ABIODUN

Abiodun Oladokun is a multifaceted individual, excelling as a crypto research analyst, lawyer, and DJ. He is the founder of ILÉ IJÓ, a monthly house music rave that operates under the brand name MELT. He has gained recognition in the vibrant Lagos and Ibadan rave scene. In just a short span, he has performed at top-tier raves and cultivated a loyal following for ILÉ IJÓ, with returning attendance growing from a few hundred to over a thousand.

Abiodun is not just a talented DJ but also a catalyst for change. With initiatives like ILÉ IJÓ’s ByUSB program, he provides a launchpad for emerging DJs and cultivates a thriving multi-state rave culture that captivates music lovers in Lagos and Ibadan. Beyond the local scene, Abiodun is a virtual resident DJ at Oroko Radio, a prominent Ghanaian music community platform. He also holds residencies at Redlightfashionroom, an elite community of EDM and House Music enthusiasts in Ibadan.

 

ANIKO

Aniko is a leading electronic music DJ and Founder of Group Therapy, an electronic music event and community in Nigeria which has quickly become a staple in Lagos’ underground nightlife, known for its high-energy parties and top-tier lineups. Known for her dynamic sets, blending afro house, deep house, techno, and progressive beats, her intricate layering, seamless transitions, and ability to connect with audiences have made her a standout figure in Nigeria’s dance music scene and beyond.

Aniko’s influence extends far beyond Nigeria, making waves across the globe with performances that are consistently hailed as some of the best in the space. Her contributions continue to shape the industry, inspiring both peers and fans alike with her dedication, talent, and passion for electronic music. Aniko’s talent has seen her performing prestigious stages and platforms across the world including HOR Berlin, Boiler Room, Homecoming, Nyege Nyege Festival, and many more.

 

ASHERKINE

Asherkine’s rise from a grassroots content creator to one of Nigeria’s most beloved figures in entertainment is a tale of vision, hustle, and an unmistakable knack for turning ordinary moments into captivating, unforgettable experiences. Originally finding his footing behind the camera, Asherkine first gained widespread attention when he directed the visuals for Asake’s breakout anthem, “Omo Ope.” But while “Omo Ope” thrust him into the spotlight, Asherkine quickly evolved beyond the role of a director, transforming himself into a one-man powerhouse of generosity and social impact.

In the years following his viral success, Asherkine has become something of a phenomenon, often compared to the American YouTube star, Mr Beast, for his seemingly boundless generosity. Whether handing out cash to struggling market vendors or supplying students with essentials, Asherkine redefines what it means to be a creator in Nigeria, bridging the gap between social media stardom and genuine community outreach. His giveaways aren’t simply about social media virality but are rooted in a deep-seated belief in uplifting his fellow citizens. Asherkine’s journey is a reminder of the evolving power of Nigeria’s creative scene — not just to entertain, but to impact lives directly, leaving an indelible mark on the communities that shaped him

 

AYANFE OLARINDE

Ayanfe Olarinde is redefining contemporary Nigerian art, carving out a space for herself in a scene she has thoroughly transformed with her layered, evocative creations. Known for her intricate scribbling technique and bold exploration of Nigeria’s social realities, Olarinde’s work has not only shaped the visual identity of a generation of artists but also elevated the
conversation around everyday Nigerian life. Self-taught and driven by a fierce commitment to documenting cultural truths, Olarinde blends mixed media, including ink, acrylics, and found objects, to construct textured pieces that speak to self-image, mental health, and identity formation. Her work often doubles as a critique of contemporary society, using imperfections and layered images to question the constructs of beauty, acceptance, and collective memory.

Olarinde’s accolades speak to her growing influence. She’s exhibited at landmark galleries like SMO Contemporary Arts and Rele Gallery, won the First Bank Magic 125 Creative Contest in 2019, and stood as the only Nigerian recognized at the AWIEF Prize for Creativity Award in South Africa in 2020. Her celebrated series “Dem Bobo,” a visually rich commentary on the ironies of urban life, has been featured by CNN, Vogue, and RADR Africa, reinforcing her reputation as one of Nigeria’s most gifted contemporary artists. Last year, Olarinde made waves as the artist behind the cover art for Asake’s celebrated Work of Art album, and she founded the fashion-forward streetwear brand, WWYD. Currently a mentee at The Nlele Institute and director of Unearthical, where she delves into fine art and fashion photography, Olarinde continues to stretch the boundaries of her medium, solidifying her place as one of the most compelling voices in Nigerian art today.

 

BRYAN IBEH

Bryan Ibeh (He/they) is a 22-year-old Nigerian-born and Lagos-based filmmaker and multidisciplinary creative working mainly as a director, photographer, producer, and editor. Currently in his final year at the University of Lagos, pursuing a Bachelor’s degree in Mass Communication, Ibeh has established himself as a talented filmmaker, photographer, producer, and creative director. His career as a creative began in 2018, experimenting with alternative-style short films, music videos, and images that showcased his unique visual perspective.

Ibeh’s portfolio includes notable collaborations with Lady Donli, Solis4evr, 808vic, Fave, Bloody Civilian, and others, as well as production credits for Adidas, MAC Cosmetics, DAZED, and SHOWstudio. He exhibited his experimental films at EXPO Lagos in 2021 and co-directed the experimental short fashion film “We Are Looking For Ourselves In Each Other,” which premiered exclusively on Nataal Media in 2022. His latest film, “Nowhere is Safe To Be,” a music film for contemporary artist Yinminu, tackles themes of trauma, bullying, and resilience, reflecting Bryan’s commitment to exploring complex social issues through innovative storytelling.

 

CHINASA ANUKAM

Chinasa Anukam is an award-winning writer, actor, stand-up comic, & digital content creator. Her first degree is in Law from the University of Bristol, UK. She has subsequently studied acting and improv comedy in the U.K & U.S. She has performed on global stages in cities ranging from New York and London to Abuja & Lagos.

She currently produces, directs and hosts the hit Youtube show, “Is this Seat Taken” which has been widely received and viewed in 120 countries with combined views of 8.5 million across 4 seasons. Additionally, ITST is currently airing on television in 42 countries via the Trace Africa TV network. Outside of work, Chinasa is passionate about travel, dancing, pounded yam, young Africans, women’s rights and telling stories. It is one of her deepest hopes that her career is a testimony of possibility to young Africans, young Nigerians, Nigerian women & black women, that we can take up space anywhere as long as we put in the work and believe.

 

EKOW BARNES

Ekow Barnes is a distinguished fashion writer, producer and creative strategist, with an impressive portfolio of clients across the continent and beyond. He specializes in fashion writing, creative production, and consultancy with several commissions in Ghana and England. Ekow has worked with brands such as Puma, New Balance, Mercedes-Benz, Emirates, Burberry, Spotify, Qatar Airways, Adidas, WSGN, Vogue, i-D , Ebony, GQ , Guardian and more.Ekow holds a degree in Mass Communication from BlueCrest University (Public Relations Major) in Accra, Ghana.

Ekow is the Co-Founder and serves as Chief Creative Officer of Will and Barnes Group; a creative production and talent management agency based in Accra, supporting creatives and sharing inspirational, thought-provoking narrative and audio-visual stories across the globe. Ekow is passionate about promoting emerging talents and showcasing their works to the world. He contributes to Vogue Italia, Guardian, and GQ South Africa as a writer on sustainable fashion stories with 30+ bylines in notable publications including (but not limited to) Glamour, Ebony, Essence, CNN.

 

ELSIE AHACHI

Elsie Ahachi, also known as “Elsie not Elise,” is a dedicated music enthusiast who’s turned her love for music and storytelling into a full-time passion. Starting out in 2022 with TikTok videos diving into the music she enjoyed, Elsie quickly built a following of people who resonate with her eye for talent and knack for finding artists who deserve more shine. Now, through her engaging
content and platform, Elsie spotlights emerging voices, creating a space where artists can share their work and stories without the usual industry pressures.

What began as sharing the music she loves has evolved into a multifaceted approach that includes artist interviews, documentaries, and storytelling that dives deeper into the creative processes of musicians. She’s also built a thriving community of music lovers across social media, connecting fans and artists over a shared passion for good music.

 

FEYIKEMI AKIN-BANKOLE

Feyikemi Akin-Bankole is a Business Management graduate from the University of Warwick and the co-host of F&S Uncensored, a leading Nigerian podcast that has transformed music discourse in the country. With over 200 episodes, F&S Uncensored has become an essential voice in Afrobeats, driving conversations that shape and amplify Nigerian and African pop culture. A lifelong
music enthusiast, Feyikemi has always been drawn to the Nigerian entertainment scene, particularly the vibrant Afrobeats landscape.

Upon returning to Lagos in 2019, Feyikemi began her career as an A&R at Aristokrat Records, later becoming Head of Music at Bounce Networks. She now brings her expertise to Spotify Sub-Saharan Africa as a PR & Communications Executive. In her role, she leads the VIP program for SSA and acts as a central liaison between Spotify and its creative agency, skillfully managing talent relations and campaign strategies. Feyikemi’s dedication to fostering talent in Africa’s music ecosystem makes her a crucial player in elevating African pop culture on the global stage. With her forward-looking vision and impact-driven approach, she is committed to empowering the next generation of artists and creators, championing African music and culture far beyond its borders.

 

JEMEDAFE CALEB UKOLI

At just 24, Caleb Jemedafe, known across Lagos as the “Party Boy of Lagos,” is transforming Africa’s creative scene with a vision that reaches far beyond parties. Starting from his university dorm room, Jemedafe has spent years championing young African talent, guiding emerging artists to global recognition and multi-million-dollar deals. His journey began with a knack for spotting potential, fueled by a Mechanical Engineering background from Landmark University that offered him dynamic knowledge to navigate the business landscape. At 18, he launched “Let’s Relate,” a groundbreaking festival that blended music and sports, drawing over 20,000 young Africans and capturing the attention of top brands like Hennessy, Ballantine’s, Coca-Cola, and TRACE and attracting performers like Rema. This early success led him to found KVLT, a multifaceted creative cloud and talent accelerator that has fueled the rise of talents such as Victony, Llona, Abstraktt, and DJ Six7even. KVLT isn’t just a company—it’s a thriving community of creative enthusiasts who together represent a new wave in African entertainment.

But his influence doesn’t stop there. Through his flagship event series, Even in the Day, Jemedafe is at the forefront of the reimagination of Africa’s party culture, producing 23 high-energy events across West and South Africa and attracting over 50,000 attendees. Featuring internationally renowned DJs like Tyler ICU and DJ Spinall, the series has become a platform for showcasing Africa’s best DJ talent, creating unforgettable experiences for thousands across various nationalities. Driven by a mission to build a global Afro-creative community, Jemedafe is not just rewriting Africa’s entertainment narrative—he’s building an inclusive, opportunity-filled world where young African creatives can thrive. His journey is a testament to vision, resilience, and the power of community.

 

LAYI WASABI

Layi Wasabi, whose real name is Isaac Ayomide Olayiwola, is a Nigerian comedian, actor, content creator, and lawyer who is best known for his unique style of comedy, often portraying a comical lawyer in his skits. Layi knew that comedy would be his vehicle to connect with audiences and share his unique perspective on life. Armed with a smartphone and a creative spark, Layi ventured into the world of skit-making, using social media as his stage and a canvas for his imaginative sketches.His infectious energy and relatable characters quickly caught the attention of viewers, propelling him into the spotlight of Nigeria’s vibrant comedy scene. His signature style—lively expressions, clever dialogues, and a knack for memorable quips—resonates with fans across generations, turning his social media platforms into a hub for laughter and joy.

Layi Wasabi is more than just a comedian; he’s a storyteller at heart, weaving narratives that reflect the complexities of life in Nigeria. Whether tackling societal issues or simply celebrating the quirks of daily living, he approaches each skit with authenticity and a keen sense of observation. As he continues to push boundaries and explore new creative avenues, Layi remains committed to his roots, reminding us all that laughter is not just entertainment—it’s a powerful tool for connection and understanding. With his sights set on even greater heights, the world truly is his oyster, and Layi is just getting started.

 

ORRY SHENJOBI

Orry Shenjobi is a British-Nigerian multidisciplinary artist and Creative Director of Studio ORRY, based in London. Her work crosses boundaries, merging techniques and materials to create immersive art that delves into identity, culture, and social narratives. Shenjobi’s dedication to sustainability plays a central role in her practice, with her studio maintaining a zero-waste policy and a strong commitment to upcycling, reflecting her belief in the transformative power of art as a vehicle for social change. In 2024, Shenjobi showcased her solo exhibition A Wà ńbè: A Celebration of Community and Culture at the Venice Biennale, as part of the “Foreigners Everywhere” series curated by Usen Esiet at the European Cultural Centre in Venice, Italy. This milestone affirmed her position as an artist focused on exploring the importance of community and cultural identity.

Shenjobi holds a degree in Product Design from the University of Leeds and an MA in Social Innovation and Sustainable Futures from UAL, blending creative practice with a deep sense of social responsibility. Her mixed media paintings and product design expertise form the foundation of her practice, while her personal background – born in London and raised in Lagos – brings a vibrant duality to her work. This cultural interplay heightens her sensitivity to diverse social experiences, which she translates into her art.In addition to her own work, Shenjobi is committed to artist development through her program, the Laho Initiative, which supports emerging artists in realizing their potential.

 

PITH AFRICA

Pith Africa founded in 2021 by Adedayo Laketu, Cosmas Ojemen and Nnaemeka Anazodo, began with a goal: to create a brand that resonates with the vibrant spirit of African youth, celebrating creativity and innovation through fashion, narratives and curated experiences that highlight a new age. Founded in Lagos, Nigeria, Pith Africa was born from a desire to reshape global perceptions of African fashion by creating a brand that tells authentic African stories through bold, expressive designs. From the outset, our mission has been clear: to build a brand that doesn’t just create fashion but fosters a cultural dialogue that resonates locally and globally.

At the heart of Pith Africa’s identity is a deep connection to our community. Our brand draws inspiration from the vibrant streets of Lagos—the energy, the pace, the culture. Pith Africa sees fashion as more than clothing; it’s a canvas for storytelling, a medium to amplify the voices, dreams, and experiences of a new age of Africans. Each collection is a celebration of diversity, innovation, and community, encapsulating the combined dreams of us all while challenging conventional narratives of African fashion and creativity. PITH Africa’s aim is to position African streetwear/fashion on the global stage, proving that our designs can compete with—and redefine—the standards of global fashion. Pith Africa is not just a brand; it’s a platform for celebrating African excellence, creativity, and resilience.

 

TOLU OYE

Tolu Oye is a visionary entrepreneur and creative force with a passion for celebrating Nigerian culture and heritage. She founded Meji Meji, a fashion brand inspired by a love for community and culture during the pandemic. Over the years, she has established Meji Meji as a platform to connect people through fashion, art, and storytelling. Known for innovative designs that blend nostalgia with modern aesthetics, Tolu has created collections like the Midnight Snack Collection, paying homage to Nigerian sweets and snacks, and “Sisi Ologe,” which reimagines classic hairstyles in extravagant, expressive ways to honour hair as an essential to our identity.

Meji Meji has become a beloved brand for its authenticity as Tolu’s vision and creativity never fails to invoke memories while committing to the preservation of the Nigerian identity across all her projects.

 

TUNDE ONAKOYA

Tunde Onakoya is a dreamer, social reformer, and Nigerian National Chess master. In 2018, he founded Chess in Slums Africa, a non-profit organization that uses the game of chess as a framework to give children in impoverished communities access to education, technology, and mentorship.The impact of this initiative has reached far beyond the borders of Nigeria, with stories of transformation featured on global media platforms like BBC, Al-Jazeera, and Deutsche Welle. Over 10,000 children’s lives have been touched, with 500 receiving fully funded scholarships to local and international institutions.

Tunde Onakoya actively engages in games of chess with fellow thought leaders, fostering connections that have the potential to amplify the impact of Chess in Slums Africa globally. His ability to articulate the mission and vision of his organization constantly garners attention and admiration, reinforcing the organization’s commitment to making chess an agent of change. Onakoya’s efforts have earned him numerous accolades, including The Future Awards Africa Prize for Community Action in 2021, the Business Insider Award for Social Entrepreneur of the Year in 2022, the JCI Ten Outstanding Young Persons of Nigeria Award for Contribution to Children, World Peace, and/or Human Rights in 2022, the Trendupp Award for Force of Social Good in 2022, Leadership newspaper Humanitarian of the year and the Royal African Award in 2022. Tunde Onakoya continues to be a beacon of inspiration, not just within the realm of chess but in the broader context of using strategic thinking to shape a better world for all.

NATIVE HORROR STORIES: The Girl Who Lived

A horror story written by Chidera Solomon Anikpe

Written by The NATIVE – 6.Nov.2024





When a strange illness descended on Ukpo and plucked the life off of children, sent mothers flailing and fathers digging fresh graves every week, Asàgà knew that death had come for her child once again.

As soon as Asàgà realized that the sudden wetness pouring down her thighs was yet another miscarriage, she decided that the devil in her womb would have to be plucked out by force. She had been lenient for long enough.

 

This was her fourth miscarriage, her seventh lost child. The other three had been kind enough to be born, stillborn as they were.

 

It had stilled her, how easily she had learnt neither loss nor grief in the face of her dead children, but a shame so pungent, it seeped into every pore of her being. Her husband had taken a second wife after their fifth child was born with vacant eyes and hands that were so tightly fisted, she could not pry them open. It was during that time that the whispers came. She heard them everywhere, in the presence of her in-laws, in the bustle of the market, in the quiet stillness of her dreams.

 

Barren woman.

 

Her womb is bewitched.

 

She must have sinned against the gods!

 

I pity her!

 

I pity her!

 

I pity her!

 

During that first week when the whispers started, mere days after Ifenkilinnaya—her husband’s new wife—moved into the family compound, Asàgà would startle awake from dreams of hands pressing down her throat, hands poking her stomach as though to pry her womb open and forcefully cause her to conceive a living child.

 

She began to avoid public gatherings, started to walk to Obunigwe stream only after midnight, when she was sure she would not meet any person on her path; started to finish her chores very late into the night or very early in the morning and then resigned herself to her hut for the rest of the day. And in this, her self-imposed isolation from the world, she bore no grudge against her husband, Nnaka.

 

He was a kind man and he had resisted the pressures of taking a new wife for as long as he could.

 

I am only doing this so that our people can finally rest easy. If you do not want this, I will wash my hands off the matter. 

 

But she had asked him to go ahead, had donned her prettiest smile and assured him that she understood, that it was a good idea for him to marry a new wife. He needed an heir and she was willing to share. He did not resist her acquiescence and she had wanted to resent him for how easily he smiled and hugged her, how earnestly he said, Thank you, as though he’d desperately needed her permission in the first place.

 

When the new wife arrived, pretty and fair skinned as she was, Asàgà took one look at her and knew immediately that she would bear healthy children. There was a quality about the girl that caused Asàgà to want to wrap her in banana leaves and preserve her forever. An innocence that was neither naive nor performative, a strength that did not wholly show itself.

 

The first words Ifenkilinnaya said to her were, I understand it if you hate me. I am the daughter of a second wife and so I know very well how these things play out. But do not hate me because you are expected to do so as the first wife. It will be shameful if you do not at least have a valid reason to do so. If you think you cannot like me, then you can ignore my existence and I will keep to myself. I am not here to usurp your place. If I had my way, I would not even be here at all. I just wanted you to know this.

 

Asàgà had been stunned by her bluntness, by the way her words had come off as curt but not impolite. She had expected a bratty teen who would try to walk over her and she had been met by a young woman who had no such interests. She had been too stunned to say anything other than, Okay.

 

True to her premonitions, Ifenkilinnaya did bear healthy children. By her fifth year, she had borne two healthy boys, three years apart. They both looked like their father, same flat nose and wide foreheads and mischievous eyes. It pained Asàgà to look at them—for in the place where she should have seen their beauty, she saw only the absence of her own children, the color of her own shame. She had lost two more children during that time.

 

It was then that she decided to exorcise the devil from her womb.

 

Her parents had brought her up in the path of the true religion but she had grown agnostic over the years and so, in her desperation, she decided that the only way to free herself of the child eater in her womb was to rekindle her link to the deities.

 

At midnight, three weeks after the unformed fetus was induced out of her body, she took a gourd of jojoba oil, a live cock and three tubers of yam and began the long trek to the Agbala’s cave in Idú.

 

As she walked the path, she recited the prayer her mother had taught her as a child, Ogé; Time, the great witness of all that has been and all that is and all that will be, be my anchor. Uwà; Space; the infinity of the universe, the being that never ends, the land that never dies, be my home. Ndú; Life, the great mother, the first breath, guide my path. Onwú; Death; the malevolent eater, the end of all things, turn away from me..

 

And as she spoke this prayer over and over again, every step came to her lighter than the last, every breath unknotted something within her, and she felt renewed by it.

 

Asàgà prayed for a week at the cave and when she returned to Ukpo, she arrived with an assurance that her next conception would live. She had felt it on her way back from the cave; a sense of something unbecoming, of something happening and unhappening at the same time.

 

She conceived on the second month after her visit to the cave and despite Nnaka’s unenthused reception of the news, Asàgà was determined not to hold any ounce of doubt in her mind because doubt, too, was a child-killer.

 

She nurtured her newest fetus with the fastidious excitement of a first-time mother, singing to the child at night and paying no mind to the whispers around her. 

 

Every night, she willed the child to live, to be so brilliantly alive and beautiful, even the deities would marvel at it.

 

As the ninth month neared, Ifenkilinnaya began to offer to help her with her chores, to sweep her hut and fetch her waters and cook her meals.

 

This is the most delicate time of your pregnancy, she said. You must not put any strain on yourself. Let me help.

 

Asàgà cried in the face of the other woman’s kindness and nodded her agreement.

 

This child will live. I know it. She said these words so often, she feared that the others would deem her mad. But every time she said the words to Ifenkilinnaya, the woman nodded in a way that did not seem patronizing or pitying. She agreed that it was true, that the child would live.

 

On the day that the child came into the world, a storm took over the skies in Ukpo, sent trees toppling over each other, houses crumbling and rivers flooding. But the child came, bright and beautiful with a cry as sharp as a hunter’s whistle and Asàgà wept at the sight of her daughter.

 

She named her Nkebialu’uwànandú: ‘the one who came into the world alive.’

 

***

 

The Agwu struck Ukpo in the eighth year after her daughter’s birth.

 

The Living Madness was what everyone called it. A sickness that seeped into the heads of children and caused them to gouge out their eyes, to claw open their skin until they bled to death. 

 

Sometimes, parents bound their children’s hands away from their body to keep them from the madness. Sometimes, they cut off their children’s hands entirely. Anything to stop the Agwu from taking their lives. But even then the madness persisted and caused children to bite their tongues or caused their lungs to reject air until they asphyxiated on sheer unwillingness to live.

 

By the fourth moon, every family in Ukpo with a child below ten had a freshly dug stump of earth in their compounds.

 

All except Nnaka’s household.

 

It did not take long for all of Ukpo to notice this quirk. Most of Nnaka’s children had grown beyond ten years except for his last daughter, Nkebialu’uwànandú. She was eight. And the sickness that had spared no child within the hundred mile radius had simply passed over her.

 

It was not long before their grief and confusion coagulated into a searing rage, a damning hunger for retribution.

 

They flocked as one angry mob to Nnaka’s house, eyes blazing in shared fury, mouths spewing threats coated in lava.

 

The girl is a witch.

 

Her mother has cursed us all.

 

End their lives.

 

Give us back our children!

 

Give us back our children!

 

Give us back our children!

 

Asàgà was the one to meet them at the fore of the compound. A mother ready to smite anyone who would dare harm her child. Nnaka was notably absent but Ifenkilinnaya stood with her and together, with their desperations combined, the mob halted.

 

Why have you come here? What crime has my child committed against you? Asàgà asked, her voice quaking with thunder. Her eyes brimming with determination. 

 

Your child lives when all of ours are dead. What do you say for yourself, witch? They asked.

 

She lives only because the gods have willed it so. If you have any qualms, take it up with them. Ifenkilinnaya responded on her behalf, hands folded against her chest in a show of resistance. Asàgà felt her heart bloom with gratitude.

 

Don’t you have a man to speak for you, gbo? Have you eaten your husband’s tongue, witch? They asked.

 

Speak one more foul word to her and you will eat your own tongues this very day, Ifenkilinnaya said back to them.

 

And in all of this, Nnaka remained absent.

 

The mob threatened and they cursed and they raged, but in the end, they left. Defeated.

 

Where is our husband? Asàgà asked, her relief and her trepidations coalescing into anxiety. Why does he abandon me in my hour of need?.

 

In the days that passed, Asàgà kept close watch over her daughter, Nkebialu’uwànandú, frightened that the raging villagers would hunt her in her moment of vulnerability.

 

Ifenkilinnaya urged her not to worry too much. It does the heart no good to be this anxious all the time, she said, and yet Asàgà’s heart would not sit still. Always it thudded. Always she jumped in fright at the most mundane of things.

 

At night, she would startle out of sleep and hurry to her daughter’s cot to make sure she was okay. To make sure she had not been taken by death in the night.

 

I will go to my father’s place in Ifite, she said to Ifenkilinnaya one day after her daughter woke up with a rising fever. I cannot stay here another day knowing that these people harbour plans to harm my sick child. 

 

Do you think your daughter’s fever is a result of evil juju from the villagers? Ifenkilinnaya asked, her worry evident.

 

Grieving parents can do heinous things sometimes, Asàgà answered.

 

She did not tell Nnaka of her plans to visit her family, still aggrieved as she was by his absence on the day when the mob came. From his hut, he watched her on the morning when she left with Nkebialu’uwànandú and a supplies bag strapped to her back. Something in his eyes spoke of a malevolence directed at her, but he said nothing. Did nothing.

 

The journey from Ukpo to Ifite took half a day and by the time they arrived, the sun had set in the horizon and her daughter’s fever had spiked alarmingly, but Asàgà was not too worried by it.

 

Ada’m, her father said upon her arrival, pleasantly surprised.

 

He hugged her to his frail chest and she felt relief course through her. She remembered her late mother’s words: ‘There is always love at home.’

How is your husband and your co-wife? Her father asked.

 

They’re fine, she answered, the lie stale on her tongue.

 

We heard of the horrible things happening in Ukpo. All those dead children. Tueh! Gods be praised my granddaughter was spared.

 

Gods be praised. 

 

That night, Asàgà slept at ease despite her daughter’s fever. She slept calm as a dove, and she dreamt of the day when she went to the Agbala’s cave to pray for a child.

 

She dreamt of the witch doctor; a buxom, middle-aged woman with sharp eyes and a chalk-painted face telling her, in very clear tones, that her womb was a harbinger for doom and that it was only by the mercy of the gods that she had not conceived or borne a living child.

 

For this one child that you seek, the witch doctor had begun, thousands shall fall. Do you still want this?

 

Yes. She’d answered confidently and irrevocably before the effigies of her gods. A bargain sown in blood. A covenant crested in death.

 

In the morning, Asàgà was roused from her sleep by the anguished cry of a nearby mother screaming over the body of her dead child.

 

She rose, daintily, and walked up to her daughter’s cot. The little girl was still soundly asleep. Still so marvelously alive and beautiful. Her fever had broken in the night.

 

Asàgà remembered the witch doctor’s last words to her.

 

For every decade of that child’s life, a hundred unlived lives must be found and sown.

 

As she caressed her daughter’s head, Asàgà wondered where next she’d go after Ifite had paid its due.

 

Maybe Igbariam or Otimkpu, she thought aloud as the wail of yet another mother rang into the morning air. I hear they have many children there.

Picture of Chidera Solomon Anikpe

Chidera Solomon Anikpe

Chidera Solomon Anikpe is a 22 year old, queer, Nigerian storyteller and student.
He is currently in his third year of studying Literatures in English at the University of Jos, plateau state, Nigeria.

Native Horror Stories Competition: Winners announced

After 90+ entries in the last two weeks from talented writers across the country, we are pleased to announce the three winners of the inaugural NATIVE Horror Stories Competition. Verem Nwoji, Chidera Solomon Anikpe and Gabrielle Harry are this year’s winners, in selections made by chief judge, Eloghosa Osunde, amongst a series of strong contenders. 

Here’s what Eloghosa Osunde had to say about the final three: 

GABRIELLE HARRY – ‘GIRLS WHO FLY AT NIGHT’

In ‘Girls Who Fly At Night,’ Gabrielle Emem Harry writes a compelling tale here, full of witchy brilliance and a thrumming presence. Reading this was so satisfying, but also of note here is the structure which is tight and sturdy, even while being desirepacked. Its prose is seductive, wickedly clever, and darkly composed. A stand out winner in every sense. 

VEREM NWOJI – ‘WITCH TREE ON THIS HAUNTED HILL SHALL I CLIMB INTO?’

Verem Nwoji gives us a shadowy world — about pressures, friendship and morphing —  that slow burns with a lucidity I did not want to turn away from. A true star of a writer, I was moved by both Salome and Hadiza’s ways of navigating the world. The bird, the tongue and the mother all brought me deep delight. I can’t wait to see what the writer does next.

CHIDERA SOLOMON ANIKPE – ‘THE GIRL WHO LIVED’ 

Chidera Solomon Anikpe’s work whirls around a relatable question in this text: who are you willing to be, and what are you willing to do for the sake of your need? What follows is this winding exploration of sharp want and murky intent, motherhood and barter, sacrifice and the ensuing dynamic between clear women, in which Chidera’s writing is sweeping in scope, confidently rhythmic and deftly measured, reeling the reader into a waiting fog one sentence after the next. 

NOTABLE MENTIONS:

Faridah Abdulrazaq’s ‘WATA’: For the character Amoke and how she unfolds on the page; its deceptively lighthearted dialogue; the overlay of contemporary Lagos dating life and the water. 

Ray Ukuame’s ‘Head Over Heels’: I was especially impressed by the second half of this. In a story powered by raciness and suspense, its final scene emerges wonderfully, and with stubborn staying power.

Ene Afoma Lynda’s ‘Madness of Conscience’: This submission moved me. The story between two compelling figures with the same mission, and different methods. The Cook and The Writer are both crucial and in their rights. When their paths collide, what happens next is a type of rest. I love that this exists.

Hanson Iboro’s ‘The Bush Baby’s Revenge’: The middle of this story is my favorite part. Sheer chaos, high stakes and dark humor. Patience the bushbaby is memorable.


[Featured Image Credits/The NATIVE]

Can We Achieve Inclusivity On Nigeria’s Fashion Runways?

In recent years, mainstream platforms like Heineken Lagos Fashion Week, Arise Fashion Week, and GTCO Fashion Weekend have been accused of lacking inclusion on their runways. Many believe that the models who get to walk the shows are only chosen from a certain demographic – young, skinny, and conventionally attractive individuals. 

In 2017, the launch of Rihanna’s Fenty Beauty caused a monumental shift in mainstream fashion discourse with her 50-plus shades of foundation, giving a new voice to the mantra “beauty for all.” This shift awakened many consumers who began to protest against brands that aren’t representative of all women. Although the conversation about less-inclusive brands is yet to pick up the same kind of steam in Nigeria, it is still casually discussed by people who care. They contend that representation should be the staple  for every brand. People want to skim magazines and find people who look like them, find products that match their skin tones in every makeup line, and watch runway shows that showcase bodies that look like theirs. 

A 2024 report by Nigerian journalist, Bolaji Akinwade, for CNN, revealed that some Nigerian fashion labels were “forced” to show in private last year during the Lagos Fashion Week Spring-Summer 2023 shows, because there were discussions within the industry centred around the certain presentations been deemed too queer. 

When we place a microscopic lense on the Nigerian fashion runway we find out that fat people, queer people, old people, short people, and disabled people are either  underrepresented or missing from the scene completely. The Nigerian fashion industry thrives on slow fashion, even for ready-to-wear brands, meaning that Nigerians would prefer a custom-made fit when buying from a national designer. Therefore, the wrangling of size inclusivity is mainly found on the runway. There are even several Nigerian brands that proudly only cater to plus-size individuals as their branding strategy

Globally, the world of runway fashion has always been exclusive: tall, skinny models with sculpted cheekbones, and arresting strides have been viewed as the quintessential model type for ages. Vogue Business analysed all shows and presentations on Vogue Runway for Autumn/Winter 2023 to determine the level of size-inclusivity amid the clamour for representation and these are the metrics: 96.5% of models were straight-sized (US 0-2), 3.8 % were mid-size (US 6-12), and 0.6% were plus-size (US 14+). 

The image of an ideal model is a Western import, a reflection of their beauty standards prior to the advent of BBL fashion. In fact,  former Chanel creative director, the late Karl Lagerfeld, told the German magazine Focus in 2009, “No one wants to see curvy women,” as he defended the well-established practise of hiring rail-thin models. The feminine beauty ideal in most African countries, especially Nigeria, the most populous Black nation on earth, is the curvy woman. Therefore, we can deduce that the lack of size inclusivity on Nigerians runways is not a reflection of our own society’s beauty standards, but adapted industry norms which have continued.

In September 2024, Alexandra Obochi, a plus size model and multidisciplinary creative, lit a torch on the lack of inclusivity on the Nigerian runway, with her GTCO fashion week model casting audition. “You’ve never seen a woman like me on GTCO’s runway, have you?” she asked. “And let’s be honest, size 12 is not a plus size model.” While blasting GTCO for constantly not including plus-size women on their runway, she emphasised that 67% of Nigerian women are above size 14 and fashion – and the runway – should belong to everybody. She also acknowledges that steps are being taken by designers to include bigger people in fashion but there is still much work to be done. 

Her audition video, which was circulated by several media outlets, garnered over 900,000 views on her TikTok account, leading to an avalanche of conversations and debates across social media still firmly stands by the primary message in her video, despite the backlash she received on social media. “Plus size women are women as well,” she tells The NATIVE. “Yes, the runway is a place where art is put on full display but I believe that art imitates life.

“Everybody wears clothes. I have never heard or seen brands reject money from plus-size women, some brand’s strategies even include just catering to plus-size women, so if we are good enough to be your customers, why not have us on your runway?”

In response to the critics who believed Obochi lacked the major criteria for modelling which is the ability to strut, she says, “You don’t expect all bodies to move the same. And as I said on Twitter, it doesn’t have to be me, it could be any plus-size model. ” 

Misturah Abisola, a fashion enthusiast and the creative director of an inclusive modelling agency, Misty Glam Company (MSG), believes that plus-size models deserve their spot on any runway. When asked if she sees models of all sizes on Nigerian runways, she says: “In some shows, yes. But in many, sadly, no. A lot of runway shows still stick to a narrow view of what beauty should look like. That’s exactly why we launched Misty Glam Company to flip the script. We believe that every body type, skin tone, and personal story deserves its moment on the runway. When fashion embraces diversity, it’s no longer just about the clothes, it becomes a celebration of the people wearing them.”

Misturah believes that the runway is a global stage and what is “acceptable” influences how we see ourselves. Exclusivity doesn’t just show us who’s considered “beautiful,” it sends a message about who is considered worthy. She encourages Nigerian brands to be at the forefront of change in this global issue.  

Seeing the models who got to the next stage of attending the GTCO physical casting, we can safely surmise that Obochi was right when she inferred that GTCO wasn’t going to pick her because she was plus-size. “After rejecting my audition I tried to reach out to GTCO in hopes of getting my brand, Ndiiche, which is big on inclusivity and representation on the runway, but I received no reply from the organisers,” she says. “I don’t know if they don’t check their mail.” 

Despite the rejection, Obochi didn’t back down, she tried to get her brand on GTCO’s runway by reaching out to the organisers. An attempt to ensure that  models like her are seen in their fashion arena and was still unsuccessful.  

At another end of this debate are experts who are of the opinion that runway modelling has been shaped to exclude plus-size people for a variety of valid reasons. Xorlali Plange, a costume designer, shared his thoughts in a Twitter thread. “Models are simply canvases on which creatives display their work,” he explained.“It’s just a three-dimensional representation of a sample; a sample of the creator’s art and not wearability. This is why models are always straight-sized.” Plange believes that agitation should only appear when brands fail to include plus-size models on clothing websites (where real clothes are being sold) because that’s what needs representation.

Plange further elucidates the reasons for this exclusion. “Now a model as a 3-dimensional form is expected to be flat, it’s literally like hanging a dress on a moving wall for view,” he says. “Which is why in early modelling, apart from being slim, they can’t have wide hips and prominent breasts. Runway modelling is not about the model. It has never been. In several cases, models who were considered ‘pretty’ were not allowed to walk. They can do commercials and photoshoots, but they can’t walk. It was said their pretty faces took attention from clothes.”  

In a bid to make sense of why plus-sized models like Obochi feel sad about being shut out from the runway, he suggests that people who walked on the runway were suddenly deemed to be the face of beauty standards and he isn’t certain on how this shift happened.

Another point Plange made was the financial burden on designers to make these dresses. “In later years, some designers also argued that sample dresses needed to be small to save fabric and haberdasheries, since sample clothes don’t bring money directly to the designer,” he explained. “At New York University, we’re more inclined towards half scales, so some are actually using 3D printing.” By his reasoning, designers looking to save on costs prefer straight-size models, as the runway is simply a display of ‘‘if I can make it for them, then I can make it for you too.”

Ruth*, a fashion vlogger, says that from her experience working as a creative editor for a hair care brand, people demand for one thing, yet they don’t show up when it is presented to them. “I have worked as a creative editor for a hair care brand. I will tell you this, videos of models with long and full hair always do better. People love to clamour for inclusivity but appealing to what the majority wants to see will get you there faster.”

Ruth also agrees with Plange that inclusion is financially tasking for designers. She averred that sartorial pieces on the runway are usually custom made hence it takes a lot of time, effort, and money. So, logically, brands will only make runway dresses for straight-size people “Also, if you follow up on a lot of fashion shows you see that when plus-sized models are put on the runway people don’t talk about the dress rather, they fixate on the fact that the brand used a plus-sized model. This reiterates my point that dominant features take away from the dress.”

Ruth goes as far as criticising the idea that all brands should be inclusive. She believes that brands are allowed to have a target audience. She compares the agitations about size inclusivity on the runway to those of the beauty industry. Tir Tir, a Korean beauty brand, was caught up in controversy for having limited shades, but their primary consumers are Koreans. “Koreans are light-skinned, it will be an unwise financial decision to make foundations for everybody,”she says. Ruth concludes by stating that instead of the constant debate we need to start supporting inclusive brands. In consideration of Ruth’s argument, the statistics say otherwise, plus-size women have always been the big spenders in fashion. The plus size clothing market is currently valued at  US$288 billion  and is projected to reach US$ 501.35 billion by 2033.

No better insight can be provided in this discussion than from runway models themselves. Chinelo Igbegbunam, a runway and pageant model with over seven years of experience, believes that sizes differ based on who you work with. “International brands love to go for size zero, two, four, and six, but that’s not the case with Nigerian designers, they usually select size eight because they desire to work with models who have prominent hips,” she says.

Chinelo believes that you cannot solely blame show organisers for the lack of representation because they supply what the designers want. “These designers make their dress before the show, and if it’s made for straight-size models, then the organisers will provide straight-size models,” she says. “If this dress doesn’t look good on the models nobody will want to buy the clothes. So for flexibility to even come about, these designers should be the ones making the moves.” 

Okoh Naomi Chidinma, a size eight Nigerian model who is represented by an agency abroad, says that her agency has requested her to lose a lot of weight that will get her to the prime goal of size four or six. “I’ve been asked to lose so much weight to a size four or six which is very unfair. I look forward to being one of the first models to break that stereotype. Nonetheless, I think the industry is becoming increasingly inclusive and I like that for us.” 

Despite deeming it tedious to fulfil the international criteria of the expected body size of a runway model, Naomi still plans on working on her figure. “Generally, I’m from the Nigerian market. I have a high order here but who wants to limit themselves to just one country?” she says.  “I am still working on my body so I can travel abroad and complete my success story.”

Chidinma’s desire to get to a size four brings us back to why size exclusion is heavily criticised in the fashion industry.  An article by a former Vogue Editor, Kristie Clement, published in The Guardian, exposes the terror models suffer to make sure they can still fit in a designer’s dress. Often, they resort to starving themselves to the point they have to be hospitalised or eat toilet paper to deal with hunger.

A country blessed with rich cultural diversity ought to embody inclusion and heterogeneity in our art, and the runway is no exception. As Christina Mallon, the chief brand officer at Open Style Lab, remarked, “Fashion and beauty and the runway create culture, and we need to create a culture that’s truly inclusive.”

uNder: Best New Artists (October 2024)

As African music continues to dominate the global stage, it’s become more and more important to lock in on new talent and watch their growth from its early stages. 

For this month’s edition of uNder, we’re highlighting the best artists from across the continent who have risen above the tide of emerging talent — from Southern Nigerian talents WesthanBoyz, whose soulful sound taps right into the melancholia and search for community that rules young people’s lives today, or South African singer Joya Mooi whose  refreshing, heart-on-your-sleeve honesty powers her catchy alt-R&B cuts.  

This months selection also includes the talents of Rwanda-born Sarah Phenom, the enchantress whose evocative style takes all the best influences from R&B and Soul; and Nigerian act, Soundz, whose unforgettable hooks are sure to become a staple in Afropop as his star continues to rise. 

Read more below and listen to our uNder playlist here:

 

SARÀH PHENOM

For fans of: Anabel Rose, Aya Nakamura & Lavaud

Sarah Phenom is a musical omnivore. While the London-based artist’s music – which is still in short supply at the moment – mostly operates within the framework of popular music, it’s a refreshing mix that marries the progressive tempos of Afropop with stateside Hip-hop and R&B influences into a “melting pot” as she describes in a recent interview with NATIVE. It’s no surprise that the fast-rising star’s music is chock-full of various influences as a nomadic life – born in Rwanda, raised in Belgium and France, and now based in London – has ensured she’s developed an eclectic taste that comes across evidently in her music and crisp visuals. 

After a memorable showing on “Edamame,” an enthralling cut off Molitor’s 2022 compilation album, Sarah Phenom released her official debut single “10%” in early 2024. The single offered a polished and punchy introduction to Phenom’s style as she smoothly sings about the push-and-pull qualities of a flawed relationship over some groovy basslines and moody synths. “I thought about calling you today, But then I just put my phone away,” she sings relatably in the opening seconds of the single. Phenom followed up her debut with the bouncy “TESLA” where she shows off her rap and multilingual skills before recently releasing her debut project titled “girl.”

The 6-track debut coalesces much of Phenom’s wide-ranging influence into dynamic and entertaining records that showcase her artistic range. Aside from the pre-released “10%” and “TESLA,” tracks like “Don’t Stop” which takes influence from the UK’s electronic subgenre DnB and the extremely groovy, House-inspired “Boyfriend in Paris,” are further proof of her eclecticism and ingenious style that’s equally entertaining and refreshing. The Thisizlondon-assisted opener “Ou La La” is also a standout cut, as the London-based singer effortlessly glides atop a riotous beat, showing off the scale of her artistry and laying down a strong marker for the exciting potential that she possesses. 

 – B.A

 

 

Soundz

For fans of: Crayon,  Oxlade and  Joeboy

There’s an irresistible charm to Soundz’s music. Whether he’s serenading a love interest or singing about the demands of becoming a successful act, his approach is usually uncomplicated, blending the tender sensibilities of Afropop with R&B to make for extremely melodic earworms. Aside from his breezy, straightforward approach to making music, a huge part of Soundz’s appeal is his ability to craft killer hooks that stay with you long after you’ve heard them. Take for example “Attention,” his 2022 sleeper hit that helped him achieve mainstream success, built around an incredibly catchy hook that has an ease to it. It’s formulaic, but it works.

This formula – which heavily relies on Soundz’s melodic instinct – has taken some time to nurture. While early singles like “Shakara,” “Okay” and 2020’s self-produced “Cinderella” are tuneful, they don’t particularly stand out when stacked up against the plethora of breezy Afropop numbers that have become ubiquitous on streaming platforms. After slightly refining his sound, the Lagos-born singer found the perfect groove on 2022’s ‘In The Rough.’ In an interview discussing the creative process of the project, Soundz explained that the EP was inspired by a rough patch that he experienced. The songs are, however, anything but rough. They all sound slick and streamlined, powered by straightforward lyricism, inviting melodies and harmonies as well as his characteristic saccharine hooks. 

Following the success of ‘In The Rough,’ which peaked at number 36 on the TurnTable Top 100 Albums chart, Soundz has continued his ascent to the the top of the Afropop pyramid with singles like “at your Service,” the uber-chill “Kiss N Tell,” and “Fever,” a lustrous duet with Fave which has found considerable success on streaming platforms. More recently, Soundz released his sophomore project ‘Diamond & Roses,’ a neatly executed 4-track pack that offers more airy Afropop cuts which will likely have you longing for your toes in the sand with a drink in hand. The records are not groundbreaking or eccentric, but they possess an irresistible quality that continues to help Soundz stand out amidst the new vanguard of Afropop stars. – B.A

 

WesthanBoyz

For fans of: Ajebo Hustlers, Styl-Plus, and Bracket. 

Afropop might be in its glitziest and most commercial era yet; immensely rewarding solo stars who operate as the nucleus of their creative orbit – but the genre has always showcased stellar bands that reaffirm the magic that can happen when  two or more coming together to build out soundscapes that are both intriguing and well-paced. From The Remedies to P-Square , Styl-Plus, and Bracket, Nigeria has witnessed musical groups capture the zeitgeist across eras. Hailing from the country’s southern powerbase, Port Harcourt, WesthanBoyz are steeped in the tradition of Afropop’s greatest groups, subsuming influences from Rock, Hip-hop, and indigenous call-and-response music into their soul-leaning sound. 

WesthanBoyz broke out thanks to a flurry of freestyles and covers that resonated with their online community. They have continued to forge a path for themselves with a series of well-curated releases that tap into the subtle resignation of online melancholia and the fraternal sense of community that young people are tapping into to escape the bleakness of 21st century existence. Their debut single, 2022’s “Foreigner,” is a somber reflection on feeling like an outsider thanks to a mix of paranoia and the struggles of youth. 

The topics that WesthanBoyz tackle place them in the lineage of another Port Harcourt star, Omah Lay, who is lauded for his nuanced takes on sensitive topics like mental health struggles and heartbreak. If there was any doubt about the raison d’etre for their music, the Zeezy-featuring “Suicidal,” written from the brink of a mental breakdown, is imagined as an encouragement to keep striving despite life’s uncertainties. For all the angst that populates their music, there is a deft sense of carefreeness that breezes through their music. “Diallo,” off last year’s two-track release, ‘Wild West,’ is a supple romantic number fit for year-end revelry while “Kaduna Babe” is a more uptempo groove. WesthanBoyz have kept up with their impressive streak in 2024. “High Way,” an orchestral-inspired tale from the doldrums, sees the boys’ insecurities and vices rise to the surface. But the real highlight from this year has been “Red Line,” a tear-jerker in the fashion of Styl-Plus that contemplates survival, escapism, and the troubles of figuring out a pathway to sustainability in Lagos  – W.O

 

Joya Mooi

For fans of: Jorja Smith, Yamiko, Konyikeh

For someone releasing music for as long as Joya Mooi has, it only makes sense that her artistry has undergone several phases. The Johannesburg born singer, raised by two musically-inclined parents, could hardly escape having a vast musical background woven together by Jazz, Electronic and indie R&B. “My father plays the trumpet, my mother sang, and they really loved the idea of all of their kids playing music. So I started playing the saxophone, but by then, I already knew I wanted to sing as well. I was too shy to ask for vocal lessons, but from then I started writing lyrics and melodies in my room,” the singer shared in an interview, ahead of her 2020 release ‘Blossom Carefully’

Across the 6-track EP, Mooi soundtracked a myriad of emotions alluding to a longing for freedom that audiences at the time could easily relate to given the pandemic-induced lockdowns. While “Hold You Tight” expressed a longing for intimacy, the titular track hones in a feeling of loss and the need to seek a sense of belonging. And her earlier works do just that – perfectly mirroring a search for one’s self that later arrives with a sense of resolution on her 2023 R&B album, ‘What’s Around The Corner.’ 

For her most recent offering, ‘Open Hearts,’ Joya Mooi switches gears to the more upbeat tempo of Electronic music, strung together by the emotive confessionals and mellifluous vocals borrowed from her inescapable R&B roots. However, she also clearly indicates that  the road to self-discovery is never ending, with each song being an introspective exploration of her personal identity, collective heritage and true authenticity. As always, Mooi wears her heart on her sleeve, encouraging her listeners to navigate their own path to truly embracing oneself. While intro tracks “Poster Child” and “Open Hearts” are coloured with the vibrant strums of House music, “No Holding Back” optimises a more melancholic approach, allowing the groovy beats lay in the background of her refreshing vocals. However, the EP closer, “Overlooked Ghosts,” takes us right back to the dance floor with vocal assistance from Gracy Hopkins. Joya Mooi’s discography is a clear indicator of her incessant progression and maturity in delivery as well as her abundant musical range, leaving her perfectly positioned for a bigger breakthrough in the near future.

 

Under Live Alum, Rigo Kamp drops 2-Pack

uNder LIVE alumnus Rigo Kamp has released his long-awaited debut, a two-pack titled ‘Summer/Morning Sun.’ The single comes off the back of a string of impressive live performances – including NATIVELAND – which has made Rigo a well known and highly respected vocalist and performer across Lagos’ live music circuit, alongside multiple teasers and unique reimaginations of a few classics and popular songs. The rising star has managed to build feverish anticipation for his original material amidst a fast-growing audience who have been drawn to his unique and eclectic style and that’s what his debut offering succeeds in delivering.

The upbeat opener “Summer” is a warm, funky number that conjure disco balls, shimmering lights, finger snapping and a fun two-step. Rigo sings with an irresistible magnetism and charisma over the locked groove of a Disco-inspired beat, making for a bold and delightful introduction for anyone that’s unfamiliar with his sound.

“Morning Sun” is equally bouncy, but its groove owes more to an infectious percussion loop that brings to mind the quiet storm era of the late 1970s as well as the luxurious Soul and Jazz-pop blend that acts like Sade popularized many years ago. Alte royalties GMK and Odunsi The Engine are on production duty for both tracks but it’s the latter’s presence that’s more telling, as the soundscape that Rigo explores here seems to emerge from the same universe that the talented artist-producer similarly explored on his seminal debut ‘rare.’ 

Aside from the eclectic and rich production that informs the two-pack’s distinct sonic style and helps keep it refreshingly crisp, another standout quality from Rigo’s debut is his elastic and smooth vocals that stretch from a soothing tenor to a weightless falsetto that accentuates every little emotion and backstory that Rigo looks to convey. His voice is just as elegant as the beats he sings on, making for an incredibly soothing and lush musical experience.

“Summer/Morning Sun” is set to usher in Rigo’s upcoming debut project which has taken about nine months to put together, according to the talented singer. Speaking about the forthcoming project Rigo explains it will explore “where I was and where I am right now.” He also adds that some listeners may not be able to relate to his music lyrically but “sonically you’ll be able to feel something.”

 

Review: ‘Emotions’ by Ckay

For the longest time, CKay cut a polarising figure in the music industry. His early career was dominated by industry-wide conversations and unrelenting social media-led critique of his emotive style and where it fit within the wider Afropop plexus. Between a buttery voice tailor-made for soundtracking the afterhours and an innate knack  for the softly sensual, some of his earliest work didn’t channel his best qualities. Back then, it often felt like the scattered-gun effort of a creator figuring out a path to his instinctive core. Things finally seemed to click into focus on ‘CKay the First,’ his 2019  extended play that distilled his warm melodies, soft whispers, and languid take on Afrobeats into a cohesive piece – and birthed his smash hit, “love nwantiti (ah ah ah).”

Riffing off the belated global success of  “love nwantiti (ah ah ah),” in 2021, CKay emerged with a vision of himself as Africa’s Boyfriend, a wholehearted embrace of his endearing interpretation of Afropop’s romantic side. If CKay’s motif was to present himself as a bleeding heart romantic, the sonics – swirling violins, tender guitar riffs, and pristine keys – set the stage; but the lyrics didn’t always follow through on that reality.  If anything, the messaging often snuck hints of the toxic edge bestowed on R&B by 2010-era stars like The Weeknd and Brent Faiyaz. The contradiction between his zest for love and those darker impulses made songs like “WATAWI” and “come close” off his debut album, ‘Sad Romance,’ fascinating listens that displayed a knack for expertly dramatizing the minutiae of modern relationships. 

On his sophomore album, ‘EMOTIONS,’ CKay picks up right from where he stops on  ‘Sad Romance,’ completing the metamorphosis from lingering, occasionally jilted lover, to flaunting his comfort navigating contentious romantic dynamics. Where a lot of ‘Sad Romance’ was spent just inching towards the carefreeness of proposing a one-night stand or situationship, he leans fully into that noncommittal instinct on “THAT FEELING,” the opener of ‘EMOTIONS,’ warning a love interest not to catch feelings for him while promising to give her supreme thrills at every turn. CKay has always understood the emotional resonance of his Eastern Nigerian heritage as a springboard for some of his most inspired work and on “EGWU EJI,” he proclaims the beauty of African women over a relaxed blend of Amapiano’s log drums, guitars, and the Igbo oja flute. The idea for “EGWU EJI” sounds thrilling enough, but lines like, “Shey your nyash na the fake one abi na the real one,” betray the lack of emotional rigour that CKay has built his second arc on. 

That misstep aside, there’s a lot of soul-searching  on ‘EMOTIONS’ that shows the range of CKay’s talent. Like his predecessors in the brooding and anguished variation of R&B that took root in popular culture around the late 2010s, CKay can be paranoid and distrustful. On “RIDE OR DIE?”, he’s asking a love interest to prove the depth of her love for him while warning that he’s also distracted by his search for money. In between all of this, he’s also dodging police officers and sex workers in Lekki while out with his lover – it all feels like an epic, slightly fantastical, journey through the rowdy maze that is Lagos.  “IN MY BED” feels like the spiritual twin of “RIDE OR DIE?” as CKay asks, “But is this love?” Sadly, its pace is ponderous –almost lethargic – mirroring the listlessness that creeps into parts of ‘EMOTIONS.’ 

Per CKay, ‘EMOTIONS’ is not strictly about love or romance. In an interview with Apple Music, he said that it was a full portrait of his life as a young Nigerian. “It’s a lot more than love on this album,” he explained. “It’s my story and my struggles, all the stuff I had to go through to get to this point. It’s basically me talking about how many battles I had to fight, even with people that I love just because they couldn’t see the vision at the time. I just trusted that it was a good fight, like fighting you in love in the sense that when you understand you’ll catch up.” 

The moments that go beyond the high drama of his romantic life are few and far between but they make for some of the best parts of the album. In recent years, CKay and Olamide have struck up a great chemistry and they keep their streak going on ‘EMOTIONS. “VANITY” reflects on the journey that CKay has had to undergo to make a success of his musical drama. It also holds the best spurt of melody on the album that comes when CKay brings up the monumental battles he fought for his spot. “I fight my enemies / Fight my friends, I fight my family,” he affirms. Characteristically, he defers back to love, reminding everyone that, “I do it for y’all /  I’m a warrior,” while setting the stage for Olamide to contribute a verse about his own come-up and the struggles that he’s had to face. 

The guests on ‘EMOTIONS’ are especially memorable, sparking life into CKay’s work at different turns. On “Dorime,” Los Angeles-born shapeshifter, Ty Dolla $ign, joins CKay for an ode to their fantasy women. It’s a trilingual effort that sees both artists adopt the stylistic cadences of each other’s country for a smooth blend that is easily CKay at his titillating best. There is a bevy of groundbreaking guitar work across ‘EMOTIONS’ done by Mauritian guitarist, Mooneesawmy Devadasen. Devadasen’s work on the opening stretch of “WAHALA,” another Olamide collab, is instrumental for setting a tropical vibe that carries through the song and creates the perfect conditions for CKay’s voice to shine through with another verse by Olamide that suggests that the YBNL head is still reaching new artistic heights despite all his years in the game. Nigerian highlife duo, The Cavemen., are perhaps the best stylistic companion to CKay in Nigerian music and they fit like a glove on “ADDICTED,” complimenting his balmy flow with their raspy delivery over a soft percussive base, as they moan about being addicted to a lover. 

At its best, CKay’s music represents a bold, new direction for Afropop that embraces the importance of free-flowing emotions and candour, over faux performativity. On the flip side, CKay’s weaker songs feel like dispatches from a deep abyss that maintains a callow obsession with sex and the simulation of love for the sake of a good story. “MYSTERIOUS LOVE” falls into the latter category, lacking the will and inventiveness that powered songs like “emiliana” and “Kiss Me Like You Miss Me.” When that same level of half-hearted introspection is applied to even weighty matters like getting his thoughts on self and his industry off on “THE FINAL BOSS,it feels disjointed.  The self-adulation on “THE FINAL BOSS” feels like the sort of chest-thumping brags that we’d make among friends — but on ‘EMOTIONS,’ it’s a underwhelming end to an album that promised so much but, ultimately, delivers only a narrow variety of emotions.

 

How to healthily process the abuse you may have faced as a child

TW: This post contains details of parental abuse and violence.

For most of us, our parents are our first basis of interaction with the world and whether we realise it or not, the way we were treated at home has lasting impacts on the way we relate with ourselves and with society in general. Unfortunately, if you grew up in Nigeria, then one of your earliest experiences of what the world would look like came through physical violence, as corporal punishment is the dominating mode of child discipline in the Nigerian home.

Corporal punishment, or what we call ‘flogging’, is so tightly woven into the average Nigerian family’s discipline culture, that it’s upheld in almost every institution from our homes to schools, to religious places, and even the workplace. It’s been so widely accepted as the norm that some of our leaders feel comfortable physically assaulting female store clerks on camera, without fear of any repercussions because the very laws put in place to protect us make provisions for physical violence of some form. For those who are not familiar, there are provisions in our criminal code that allow the use of force by parents or legal guardians (and masters) on their legitimate or illegitimate children (or servant), under the age of sixteen years for ‘misconduct or disobedience to any lawful command’.

What amounts to ‘lawful command’ is left open to interpretation within each individual home. Whether parents are aware of the existence of this law or not, their power and authority over their children has definitely been abused countless times, as most Nigerians would have experienced during childhood. I, for one, remember my parents arming themselves with anything within their reach to wield as a weapon for correcting disobedience, which definitely left scars, both physical and mental, that I still remember to this day. Disobedience or not, flogging a child that’s barely learnt their way in this world is not the ‘right’ way to impart any real discipline because you inadvertently raise children who view love as suffering and abuse, and who never demand better for themselves because they are taught to silently accept the pain and trauma.

As the child’s first point of contact in the world, the family home is meant to feel safe and nurturing not hostile and unwelcoming. Whilst there might be no denying that our parents definitely loved us, and still do, a lot of us are beginning to notice in our adult years, that we were raised on fear, manipulation, and blind servitude. Alongside this, the proliferation of videos shared on social media depicting physical abuse in the home has meant that many of us have relieved this trauma from our childhoods over again, and though the majority are well past any physical altercations from our parents, there are young adults still struggling to sustain meaningful and close connections with their parents due to years of mistreatment.

When a child is raised up on a violent disciplinary diet, a wall of resentment is inadvertently built and this wall serves as a reminder to them that they cannot communicate with their parents if they are in tough situations because they will surely be met with judgment and punishment. The breakdown of these base familial connections is a harmful one for any child as some may end up growing up having deep-rooted trust issues for authority figures that may even seep into their personal relationships, while for others, years of abuse become hard to unlearn as they end up repeating the same patterns to their own children.

Over here, we’re constantly told of the value of physical correction methods, and very often, you’ll often hear phrases like ‘spare the rod and spoil the child’ in conversations surrounding discipline and correction. This has always been a part of our culture as parents believe physical violence is needed to instill discipline in their children, distinguishing them from the ‘oyinbo kids’ who they believe to be rude and disobedient as a result of not being hit. Boomers unlike millennials and Gen Zers aren’t so malleable and they believe that our generation’s new way of questioning societal standards is a harrowing indication that we’re losing touch with our tradition and becoming too westernised. This fear is completely unfounded, as the old way of doing things is just not going to slide for a generation of young adults who have been exposed to the Internet. The fact remains that we are living in a vastly different world to that of our parents and the increasing understanding that we are all connected has spurred more empathy from many young adults today.

Given that authority is flouted at all levels of life in Nigeria and the way that we generally treat each other is widely atrocious, I don’t see any discernible benefit of the brutish disciplinary methods that characterises the Nigerian upbringing. It’s time to do away with these methods and really question why we result to them in the first place. Looking at our society, it is clear to see that many adults don’t view children as individuals in their own right but as extensions of them. Not that there’s any ‘right’ reason to have kids, but we’re sure that if you asked any Nigerian parent why they did, many won’t immediately say it’s because they wanted to bring independent individuals into this world to blossom but because they are more concerned with their children carrying on their legacies or living the lives that they were not afforded while growing up.

Parenting is not just about providing for a child, and we have to reach a point where we go beyond surface-level connections with children and actually nurture and form the basis of how they love others and love themselves. The dangers of children growing up as adults who have lacked a foundational basis for love is very damaging and we can see this today, with a society of young people who are not sure of themselves and who become easily swayed when making value judgments. It leads to a generation of young adults who are raised to readily accept abuse and protect abusers rather than speak up when things are clearly wrong. This is damaging because we end up with people who choose to mask evil and violence with faux perceptions of ‘culture’ rather than demand social progress.

What has long been the case in many homes is that when physical violence is no longer effective in disciplining the child, many parents substitute this method for emotional and verbal abuse, which isn’t even considered to be a big deal in many homes. Even more dangerous than physical abuse, verbal abuse tends to form the basis for self-depreciation, as the voices in your head are often made up of what you’re being told about yourself. Parents don’t tend to realise these harmful effects on their children until it’s far too late, when their children have grown up ill-equipped to take on adult life due to a lack of self-confidence or low self-esteem.

Whether we’re conscious of it or not, we’re always tracing things back to our parents and we spend a lot of time either attributing or blaming our actions on them because they have a responsibility to care for us. So when you raise a child on a diet of criticism, judgment, abuse, and physical violence, it’s only a matter of time before they take over from their parents, and embody the toxicity they were raised upon. Luckily as a generation, we’re more aware and willing to break the chain and unlearn harmful behaviours our parents didn’t from theirs. Regardless of this, when we see brutal cases of abuse, from the South African father whose son only passed music after his father paid $21,000 in school fees, to that of a young boy profusely begging with his mum to ‘calm down’ and not flog him, we’re taken back to when we felt helpless as children, and our voices were stifled by their authority.

After a lifetime of regurgitating to yourself the negative messages that are well-entrenched in your mind from the adults who raised you, to end the cycle we must heal and move on from this past trauma. In a bid to help you begin this process, we’ve compiled a list of helpful steps (from a number of online psychology platforms that promote healing for children who have been abused at home) that could go along way in your journey towards recovery.

Establish healthy boundaries.

Setting boundaries is an important part of establishing one’s identity as an adult and is a crucial aspect of mental health and well-being. Boundaries can be physical or emotional, and the first step in forming them is to access the boundaries that already exist (or are lacking) in your life. With parents, establishing and maintaining boundaries can be very tricky especially if you live together but communicating with your parents that you’re an adult who is unwilling to compromise in matters regarding YOU is an important step.  It could really be as simple as being able to lock your room door or not attending your childhood church, and range to bigger steps like moving out. The best thing about boundaries is that they’re not set in stone. It’s good to think about them and occasionally reassess.

It’s okay to cut ties with a toxic parent.

This is easier said than done because many of us are still financially tied to our parents due to school, work, and other reasons. As you grow older, you should only be surrounding yourself with fulfilling relationships that serve you wholly. It doesn’t matter how much you love some people, even your parents, you’re not responsible for them or for the state of your relationships with them, and you are under no obligation to keep being abused, belittled, shamed or humiliated. Healing starts with expecting more for yourself, and you’re the only person who can make that decision.

It’s also okay to not cut ties.

Not everyone can walk away from a relationship with their parents, especially when you are reliant on them in the early stages of adulthood. Accept that for now, this is where you’re at, and fully experience what that’s like for you. This links back to establishing healthy boundaries, as living under the same roof can get triggering if those boundaries aren’t in place. Always remind yourself that you won’t spend the rest of your life living under their shadow and you’ll be in a place to move on when the time comes, if that what you want and need. It takes tremendous strength to keep walking into a relationship that you know hurts you, so keep your chin up and stay afloat.

Find your voice.

When you grow up around toxic parents, you are conditioned to believe that the only voice that matters is that of your parents (or authority figures), thereby stifling yours.  Along with this, you learn that only your parents are allowed to have and express feelings and opinions and you are forced to endure their harsh words. Reframe your mindset from this and understand the power and importance of your voice in the world. You are not the ugly words you’ve been called and you deserve to share your gifts with the world so keep working at talking your shit until it becomes second nature.

Surround yourself with good friends.

Friends can be an escape from the pressures at home, so it’s always good to surround yourself with a strong and compassionate support system that is considerate of your past experiences and never use them against you. Also, remember that your friends are their own individuals and may also be coming from toxic environments themselves. In this vein, it helps to cultivate an environment where everyone shares their feelings and fears. Simply being able to speak out loud about the voices in your head is a step to recovery.

Be careful of repeating these patterns with others.

You might find yourself drawn to people who have similarities to your toxic parent. We’re all human. We’re all going to get it wrong sometimes, so don’t beat yourself up if you notice toxic patterns. The first step to recovery is self-awareness so you’re already halfway there. Be gentle with yourself and constantly process your thoughts and actions to assess if they’re detrimental to yourself or to those around you.

Seek professional help.

All these tips are much easier said than done but to really make sure you’re keeping consistent with boundaries and voicing your feelings, the best step is to seek professional mental help to get you through these difficult feelings. This might be a difficult step for those without the funding to seek professional help but there’s a myriad of resources available online right at your fingertips. To help you on your search, we’ve put below are a few websites to get you started on your journey of healing. Although they are not specifically tailored to the Nigerian experience, these websites have proven helpful to us, and we hope they will be to you also.

Positive Psychology 

We Have Kids

Help Guide 

Psychology Today

Featured image credits/Debola Abimbolu


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ICYMI: Is it mesmerising? Is it triggering? Is it cake?

The Enduring Legacy of The Lijadu Sisters

Nigeria in the 70s – A nation fresh off the throes of a civil war, grappling with rapid socio-political changes and the continued weight of its colonial legacies. From Lagos and Ibadan to Kaduna, Anambra, and Enugu, a new cultural and creative movement was emerging. In this era, when the popular music scene was championed by larger-than-life male personalities heralding Highlife, Funk, Rock, Juju, and Afrobeat, The Lijadu Sisters offered something decidedly different. 

“Music is a message,” Yeye Taiwo Lijadu, one-half of the identical twin music mavericks states in the 1979 documentary, Kokonbe: The Nigerian Pop Music Scene. The confidence in her voice is as firm as her conviction. “It is our responsibility as musicians to speak to the people about what is wrong and what can be better.” And as one of the country’s fiercest mega pop stars, The Lijadu Sisters – comprised of Yeye Taiwo and the late Kehinde Lijadu – spared no effort in speaking and singing their thoughts. 

With folksy psychedelic Rock, Apala, Reggae, Soul, and Afrobeat-infused grooves, The Lijadu Sisters pioneered a space for women in the music industry as the first and most popular female-led band in Nigeria. Layered within their irresistible jams were calls (in English and Yoruba) to society (their fans and foes alike) to face its injustices and iniquities, particularly towards women. Their albums; ‘Urede,’ ‘Mother Africa,’ ‘Danger,’ ‘Sunshine,’ and ‘Horizon Unlimited’ were political musings, protests, and prayers in the golden age of African music. 

Born in Jos in 1948 and raised in Ibadan, the sisters’ musical career began at the age of 10 after viewing the British Comedy, The Belles of St. Trinian’s with their mother. Following the inspiring experience, they began drawing influences from Jazz, Soul, and Rock thanks to their mother’s record collection which included the likes of Elvis Presley, Ella Fitzgerald, the Beatles and Cliff Richard. They were later introduced to African musicians like Yusufu Olatunji, Miriam Makeba, and Haruna Isola. 

By 1968, their limitless musical ear and relentless spirit had taken them from session vocalists at record label, Decca Records, to landing their debut single, “Iya Mi Jowo (Mother, Please),” which is “sung by a daughter who wants to know what she has done to make her mother so distant and angry,” as Yeye Taiwo would explain years later. In 1974, they released their debut album ‘Urede’ and signed a four-album deal with Afrodisia, an imprint of Decca Records. The Lijadu Sister continuously captivated listeners with low-pulse, hypnotic singing and often playful, put-you-in-your-place wit. Their power, however, rested in their soft yet blunt, impossible-to-ignore focus, as opposed to the brash and in-your-face manner of, say their second cousin and Afrobeat pioneer, Fela Kuti who approached his music with fiery grit. For the sisters, no topic was off limits. 

Songs about sex or critical commentary on the government continue to be a part of music culture. Think Tyla’s “Water” or Asa’s “Jailer.” But as vocal young women living in a military-led, male-centred, conservative Nigeria, The Lijadu Sisters’ bravery was unprecedented. They made their lovers aware of their sexual desires on the sultry number, “You Can Touch Me If You Want,” which they’d often perform on tour. They’d also take aim at the government and elites, asking the people to “Get out!, Fight!” against the trouble and shortcomings caused by them as the cult classic, “Orere Elejigbo,” suggests. On the cover of their 1976 album, ‘Danger,’ the two are depicted as superheroes forever ready to protect the vulnerable. Throughout the project, they respond directly to the socio-political issues plaguing Nigeria at the time. The titular track warns of an impending danger lurking in the shadows of the country’s instability, corruption, and the widening gap between the rich and poor, all of which are unfortunately, true to this day. So it’s fitting that decades later, the duo’s striking harmonies and forward-thinking ideologies have crystalised them in Nigerian history as the voices of liberation inspiring newer generations. 

“I think the Lijadu Sisters were the first alté girls,” Ghanaian-American singer Amaare points out in a conversation with Rolling Stone. “I think that they helped me build an ethos of how I wanted to operate as an African woman and as an African artist, an African rock star.” Back in 2021, Ayra Starr who had sampled the Lijadu Sisters’ “Orere Elejigbo” on her single, “Sare” off her breakout EP ‘Away,’ spoke about the sisters saying, “The way men carry Fela, that’s the same way I want women to carry these women that have worked so hard and people have forgotten their name.”

The path of a pioneer is often a lonely one. For eclectic, outspoken young women existing in an era of military rule and working in a developing industry, there comes a price for revolution. Misunderstood, misjudged and mistreated, The Lijadu Sisters faced harassment from the government – one incident taking place during FESTAC ‘77 when a soldier struck a then seven-month pregnant Yeye Taiwo on her stomach with the butt of his rifle. “Women suffer at the hands of men in Nigeria,” Lijadu explains in the Jeremy Marre-directed documentary as the duo rehearse while taking turns to feed Yeye Taiwo’s baby.

‘Horizon Unlimited,’ the flowery 1979 album, would be the last from the sisters’ genre-defining catalogue. By then, their relationship with Decca/Afrodisia had soured with Yeye Taiwo and Kehinde feeling exploited by the label. “They want you to keep owing them, and as far as they are concerned, you can keep owing them and keep paying back until you die,” they say, describing the label’s lack of care for their artistry and contributions to the industry. It was a familiar tale for artists of the time signed to multinational record companies who were more interested in making profit than genuinely developing local talent. “You should be the baby to this company because you are actually making the money for them, but the other side of the coin is that they don’t care.” 

For decades following the end of their deal with Decca/Afrodisia, the sisters flew under the radar as excitement surrounding them slowly fizzled out. Due to limited protection, continuous copyright infringements plagued their work, with over 50 infringements found today, including Ayra Starr’s “Sare” and Nas’ never-released “Life’s Gone Low.”

Having regained control of their catalogue in 2021, The Lijadu Sisters hope to correct the years of injustice via a multi-record partnership with Numero Group. All five of the siblings’ trailblazing albums, will be reissued alongside previously unheard recordings, unearthed rarities, and new rediscoveries. The landmark campaign kicked off with the reissue of ‘Horizon Unlimited’ earlier in the year. “I think one of the most exciting things about the reintroduction of ‘Horizon Unlimited’ is the fact that young folk love our music, and are surprised at the upbeat tempo, and the lyrics, which are not only of today, but also very futuristic as well,” Yeye Taiwo Lijadu said in a press release. 

The Lijadu Sisters’ legacy is one set apart by their unwavering resistance and dedication to using art as a reflection of society. They showed the world that sometimes revolution takes two Nigerian women singing in harmony and refusing to be silenced or relegated to the backburners of history. 

The Majestic voices of African R&B

There are many distinct qualities that lie at the heart of popular African music, but one easy standout is its chameleonic nature. Drawing influence from a slew of genres across various time periods, mainstream music in this part of the world tends to morph with the moment, borrowing landmark qualities of one genre to birth another.  And despite its contributions to the continent’s varying soundscapes, R&B is one genre that doesn’t get the love it deserves; it often ranking low in a culture where audiences lean towards the flamboyant pomp of Dance and its variants,  the lyrical ingenuity of Rap or even Pop’s fun and digestible nature. 

For many, the crux of true musical ability lies in the vocals and storytelling; and despite being criminally underappreciated by many mainstream listeners, it is R&B that often displays these skills most potently, forming the foundation for much of the fusion. That said, it’s impossible to recognise the best voices in R&B without calling on their most impactful contributions to other sounds, especially considering the genre’s years-long residence in the shadows of mainstream African music. 

Recently, the electric grooves of Dance music have hooked their claws into popular music around the world, and Africa is no exception. Straight from the burbs of South Africa, Amapiano emerged as a descendant of Gqom whose percussive elements pull straight from Dance. While the energetic synths are enough to increase your heart rate and transport you to the dancefloor, the once wordless, production-inclined genre quickly sought the dazzling voice of R&B vocalists to further communicate the emotive messages the basslines couldn’t. Queue the likes of Ami Faku, whose silvery chants laid the foundation for some of the biggest Amapiano songs yet, “Abelele” and “Asibe Happy.”

Both tracks held, the soulful and downright gut-wrenching elements that classic R&B is known for, as Faku delivered a performance so moving and timeless that many consider it responsible for Amapiano’s proliferation to the world. Cut from the same cloth is Nkosazana Daughter, whose feathery execution leads the Deep House-led excursions of Private School Amapiano. From upbeat to gloomy productions, Nkosazana is sure to deliver a heartwarming and memorable performance, leaving a lasting impact as her vocals exit the track. While her discography and innumerable co-signs indicate her domineering presence in South Africa’s Dance scene, her unique techniques evidently pull references from R&B’s hallmark characteristics.  Also in this category are other key players like Sha Sha and Venom and Shishiliza, whose porcelain notes weave a stunning level of rhythm, blues, heart and soul with ‘Piano-indented production.  

In a similar way, R&B scaled its initial boundaries after penetrating Nigerian Pop, going  as far back as the early 2000’s. Think Psquare’s “Am I Still That Special Man” where the lyrical sensitivity and emotional resonance is crystal clear; or Styl Plus’ now-classic stack of emotive tunes as seen on “Imagine That” and “Olufunmi,” or even Paul Play’s unforgettable display of love on “Angel of my Life.” That early class of R&B veterans, popularly believed to be led by 2Face, propelled the genre to the limelight while setting the stage for a new generation of stars to later arrive. Now, R&B-influenced Pop music is the order of the day, after an unquestionable run in the late 2010’s where acts like Fireboy DML showed the makings of a quintessential R&B star after releasing ‘Laughter Tears and Goosebumps,’ an album so unapologetically sensitive, it starkly contrasted the entitled and brazen tone popular Nigerian music typically adopts. Before that, we also had the likes of Nonso Amadi’s “Tonight” and Simi’s “Joromi” gaining mainstream recognition, whileMelvitto and Gabzy’s ‘THENIGHTISYOUNG.’ received similar love for its stark vulnerability. 

Soon after, the likes of CKay, Tems and Omah Lay arrived to take things to the next level, slinging the ropes of R&B well beyond its borders.  Where various iterations of “Love Nwantiti” were gaining traction, Tems’ “Try Me” was also pulling at the heart strings of listeners on home soil, positioning her to later deliver a career defining verse that set her up to release one of 2024’s best R&B albums. Omah Lay hasn’t shied away from global success either, since releasing his debut album and its deluxe, which perfectly encapsulated the angst of an early adulthood riddled with extreme emotions. Because his unbridled honesty and melancholic rhythms resonated so easily with audiences, his new approach on the “Holy Ghost” and “Moving” had fans worried we might have moved past the unfiltered rawness of ‘Boy Alone.’  Whether or not his upcoming sophomore release declares a sonic shift from the tunes we know and love, or his cohorts decide to occasionally dip into the fountain of Pop music more times than R&B fanatics would prefer, the upcoming class of contributors indicate the genre is still in good hands. 

Hailing from Cape Town, South Africa, Yamiko’s soothing vocals hold the weight of her soul-stirring confessions, stacked with positive affirmations and confidence. From her 2020 debut, “Healing,” to her recently released EP, ‘Rear View Mirror,’  Yamiko approaches music with a trained conviction usually associated with far more experienced artists, while possessing an admirably childlike wonder for exploration and deep yearning. Also pondering life with a similarly melancholic flair and representing a South African R&B renaissance are Nanette and Phiwo, who never falter in telling the harrowing tales of non-committal romance and unreciprocated love of the younger generation. British-Nigerian singer, Odeal, is also traversing the soulful terrain with balmy vocals, earning the title of UK’s Brent Faiyaz for his sonorous vocals and hypnotic renditions that house a unique hit-making ability and undeniable charisma. The commanding presence of Konyikeh cannot go unnoticed, when you consider how well she wears her excruciating pain on her sleeve translating them to tactfully curated melodies that throw her listeners into a tender yet agonising turmoil. From Eswatini’s Manana to Ghana-Burkinabé’s Ria Boss, the inimitable contributors on this list are endless. And in a scene ridden with upbeat chants, reflective R&B melodies always serve as the perfect cleanser, drawing our attention back to the quieter moments that allow us to address the largely shunned emotions.

[Featured Image Credits/The NATIVE]


ICYMI: REVIEW: ‘BORN IN THE WILD’ BY TEMS

Where Is Asaaka Today?

A few years ago, a couple of young, exciting rappers from Kumasi, the capital city of Ghana’s Ashanti Region, breathed new life into the country’s waning Hip-hop scene. The rappers – O’Kenneth, Jay Bahd, Kawabanga, Cedi City Boy, reggie, Kwaku DMC, Sean Lifer, Rabby Jones, Braa Benk, and Yaw Tog – all took major inspiration from Chicago’s famous Drill music, layering the genre’s characteristic hi-hat and rippling bassline with sharp, abrasive lyrics that switch deftly between the Akan language, Twi, and English. The gripping sound ballooned into a full-blown movement which they called Asakaa, a word which was coined from the Twi word “kasa” (which means “talk”), said backwards.

Like the name suggests, the Asakaa boys use drill music as an avenue to freely express themselves, chronicling the realities of living in Kumerica (a portmanteau of Kumasi and America), as they call it, as well as their various personal experiences. “When you listen to UK Drill, it’s like fights and crime, you feel me? But we, the Kumasi people, we talk about our lives, how we want to win so bad, how God should help us, stuff like that,” Yaw Tog explained in an interview with NATIVE a few years ago. The conservative nature of the Kumasi people along with the infamous reputation that drill music had developed, right from the days when it was slowly emerging from Chicago’s South Side, meant that the genre was not initially embraced by the community. Things, however, took a turn in 2020. 

Sean Lifer, the co-founder of Life Living Records, is largely credited as the defacto godfather of Asakaa, laying the groundwork for the genre many years before its explosion throughout Ghana; but it was the efforts of Asakaa poster boy Yaw Tog that truly pushed the movement to widespread renown. In August 2020, the 21-year-old, born Thorsten Owusu Gyimah, released his debut single “Sore,” a swaggering statement record that went viral shortly after its release and caught the attention of Uk rap star Stormzy who featured on the remix alongside Ghanaian rapper Kwesi Arthur.

 

The original single, which featured fellow Asakaa boys O’Kenneth, City Boy, reggie and Jay Bahd, amassed over 3 million views on YouTube just a few months after its release and the remix racked up even more impressive numbers on other platforms. The single also received a number of notable awards, including the Hip-Hop Song Of The Year award at both the Vodafone Ghana Music Awards (VGMA) and the 3Music Awards. While Tog might have given the movement arguably its biggest moment, the efforts of his peers were just as significant in its proliferation.

Shortly before the release of “Sore,” Life Living Records act Kwaku DMC dropped the vibrant “Off White Flow,” catching the attention of the late visionary designer Virgil Abloh, who featured the Asakaa boys on his Apple Music show Televised Radio. In the same year, fellow Asakaa boys O’Kenneth and reggie released ‘Straight Outta Kumerica,’ a 6-track collaborative EP that perfectly encapsulates the subgenre’s essence. The rappers adopt influences from notable drill giants like Pop Smoke, dousing the late rapper’s electrifying style in local dialects to deliver invigorating music that sounds immediately provincial but also holds a global appeal. 

The success of the Asakaa boys helped drill spill over into Ghana’s mainstream, inspiring many A-listers as well as a host of other young, talented acts in the country to weigh in and put their own unique spin on the captivating subgenre. One of the many exciting rappers who has embraced the Asakaa sound and is looking to progress the subgenre, both sonically and aesthetically, is Beeztrap KOTM. The Kumasi rising star has been dubbed one of the golden children of Ghanaian music, as his distinctive mix of drill, hip-life, reggae and a number of other genres has quickly made him a standout act.  

Born Edwin Eshun, Beeztrap KOTM was raised in Santasi, a suburb of Kumasi. He was born into a musically-inclined family and this helped him develop an affinity for music very early on. As a kid, he served as a drummer in his local church’s choir – where his mum and sister also sang – and he frequently visited his uncle who owned a recording studio. His time at his uncle’s studio helped him learn a lot about making music and this ultimately influenced his decision to chase a career in music. 

After making covers of popular songs and releasing a number of warmly-received singles, Beeztrap’s longtime friend and producer Stichez played the then unreleased “Distance Relationship,” to Asakaa stalwart reggie who was intrigued by Beeztrap’s work and expressed his desire to collaborate with the fusion artist. Jay Bahd and O’Kenneth ended up featuring on the single as well and this helped Beeztrap gain significant attention, especially among the ever-expanding Asakaa fanbase. Shortly after the release of “Distance Relationship,” Beeztrap went on tour with the Asakaa boys and he released his first major hit single “Cinderella.”

The posse cut helped showcase just how dynamic the sub genre has become as Beeztrap was joined by Skyface SDW, City Boy, Thomas the Great, reggie, Braabenk, O’Kenneth and Kwaku DMC to deliver love-inspired lyrics over a slow, seductive beat that takes influences from drill, Afropop and Highlife. The single ended up on Beeztrap’s 2023 EP ‘Different Kind Of Gangster,’ an introspective 7-tracker that put on display the rapper’s ingenuity as well as the endless possibilities of Asakaa. 

More recently, Beeztrap continues to push the boundaries of Asakaa, slightly toning down the subgenre’s typical animation and pairing it with more airy sounds. Singles like “Fly Girl,” with Oseikrom Sikanii and subsequent remix which features Afrofusion singer Gyakie have massively contributed to giving the subgenre a different dynamic, making it a lot more soothing and accessible to a growing fanbase that has extended beyond the streets of Kumasi. While acts like Beeztrap continue to push Asakaa forward, originators like reggie, Kwaku DMC, Jay Bahd and O’Kenneth are also hard at work in keeping the movement alive as they gracefully embrace new faces in the scene while relentlessly creating and releasing music that captures the distinct energy of Kumerica.

Inside The Aftermath Of Ghana’s #StopGalamsey Protests

In September of 2023, hundreds of Ghanaians took to the streets of Accra to protest bad governance, high cost of living, and other social issues that have made their lives unbearable under the umbrella theme, “#OccupyJulorbiHouse.” The phrase, comprising the Ga words julor (the thief), and bi (the child), Julor-Bi, means “child of a thief.” 

Organized by Democracy Hub (a pressure group in Ghana), the three-day protest began online with social media users calling for the government to fix a range of issues plaguing the country’s people. Between the 21st and the 23rd of September, the protests would move from social media to the streets of Accra. The demonstrations were, however, met with government pushback with hundreds of protestors and journalists being arrested and detained. Following the efforts of several lawyers, all detained protestors were released.

In the 12 months since #OccupyJulorbiHouse, the agitations for a better standard of living have continued, with the government’s unresponsiveness necessitating another major demonstration. As such, Democracy Hub put plans in place to stage a new round of protests from the 21st of September to the 23rd of September 2024. Among the issues that motivated this second wave of demonstrations was the pressing issue of galamsey, which means illegal mining. Galamsey has been in practice for years, and despite promises by the government, including the president, to stop Galamsey, nothing substantial has happened.


This past August, Ghana Water Limited reported on the impact that Galamsey was having on the country’s water supply, causing shortages and leading to various communities around the country having less and less access to clean water. In fact, in 2011, a report by BBC Africa stated that Ghana may have to import water by 20230 if illegal mining is not addressed. Currently, 60% of Ghana’s water bodies have all been polluted.

Designed by Jkhomezi

Days before the protests, the Ghana Police Service issued a communiqué announcing they had secured a court order placing an injunction against the protests. They would later reveal in an updated communique, a meeting with Democracy Hub where new routes for the demonstration were suggested. Despite the communique, the original plans for the protest would be greenlit by organizers who cited a lack of compromise and a rejected proposal to the Ghana Police. 

By the afternoon on the September 21st, hundreds of protestors had gathered at the 37 Roundabout in Accra, with placards voicing their grievances. The low turnout did not deter those present, though, and the event helped put pressure on the government to take action against illegal mining. 

Photos by Ghfixthecountry on X

What began as peaceful soon turned sour when protesters were once again met with heavy police presence and pushback, reminiscent of what happened last year. Tensions rose, and protesters were arrested enmasse and whisked away to various police stations across the capital.

Unlike last year, the protestors who were arrested in this year’s demonstrations were put behind bars with no access to lawyers and quickly slapped with charges including conspiracy and unlawful assembly, causing unlawful damage, offensive conduct to breach of peace, assault on a public officer, and defacement of public notice. They were arraigned before the court without the prior involvement of lawyers who were moving across Accra trying to track the locations of the arrested protestors.

As Multimedia Group journalist Kenneth Darko told me, “A total of 51 people have been arraigned at the Circuit Court in Accra. As of today (26th September 2024), all have been denied bail and remanded into police and prison custody.” The detainees include a pregnant woman, an asthma patient whose family was denied contact even when they reached out with medication. Other detainees include Ama Governor, a lawyer, YouTuber, and activist; and fashion influencer Glenn Sam. All have been remanded until another court hearing on October 8th and 11th, 2024.

The detainees face eight charges, including conspiracy to commit a crime; namely unlawful assembly, unlawful assembly, causing unlawful damage, defacement of public notice, offensive conduct conducive to a breach of the peace, and assault on a public officer.

Protest convenor Oliver Barker-Vormawor faces all the aforementioned charges, along with an additional charge of stealing. Despite the arrests, he praised the coverage of the proceedings as a well-rounded affair, with everyone from traditional media to other digital and social media platforms putting their best forward and staying committed to presenting the facts of the developing story. 

However, as a journalist and a citizen, Darko feels that the charges are unjust. “It has been challenging to separate personal feelings from some developments,” he says. “For instance, the remand of 11 individuals into prison custody seems extreme, especially since the justification stems from inadequate police facilities to house them. Some Ghanaians are questioning why bail wasn’t granted instead of treating detainees, who are still suspects, with such severity. This, among other issues, including the fact that one of the protestors present in court, Felicity Nelson, was not even listed among the accused, according to her lawyer, is quite embarrassing and creates room for further suspicion. The detention of the pregnant woman and the general detention of most of them for over 48 hours (which is unlawful) before arraignment do not speak well of Ghana’s democracy.”

Designed by Forevermartey

In the midst of all this, media outlets like the country’s Daily Guide have painted false narratives of the happenings in their reporting. The arrested protestors have been described as members of Ghana’s opposition party, the National Democratic Congress (NDC). Even worse, a committee from the Youth Wing of the ruling New Patriotic Party (NPP)has shown support for the arrest and called for the prosecution of those arrested while describing them as “hooligans.”

Ibrahim-Anyass “Mo” Muhammed Esq, a lawyer representing the detained protestors, believes that they are not being treated fairly. “I have been in court twice. On the 25th and 26th of September, 2024. My observation of the protestors is that they were not in very good shape,” he says.“Most of them were complaining about the lack of space and the terrible conditions of our cells. That is the general view of cells in Ghana. They are not very conducive places for anyone to be. But there were more pressing concerns about insects, and getting sick without anyone readily assisting them with medication or medical care. I have a client personally who has bemoaned the state of the cell, saying that he suffered an asthmatic attack and still did not get the help he deserves.”

With this year being an election year, Mo explained how the current climate would affect subsequent protests but reaffirmed the rights of Ghanaian citizens to embark on peaceful protests. “The public will be conscious of the process or procedure for embarking on peaceful protests, which the constitution confesses to all citizens of Ghana,” he adds.“This is an election year, so all types of protests or demonstrations will be scrutinized by law enforcement agencies. I think that is why we have seen this level of toughness from the police.

“The police, under the Police Order Act, have the discretion to provide you with the necessary tools – the mode of exercising your protest, the routes to use, and the means to achieve it. The police have sometimes abused the power in the mode of exercising the mode of protesting.” 

Graphic By Morganite 

While the police have provided updates on matters pertaining to the protests, members of the media and citizens on the ground have poked holes in some of their statements. Particularly the arrest of one Benjamin, who was detained by the police as he was delivering essential products to arrested protesters, as reported by journalist, Olele Salvador. Additionally, a video posted by Joynews on X,  shows a family of a detainee being denied access to give drinks and water to the detainee.

 

For many young adults, the current happenings are a show of dictatorship, disregard for human rights, and abuse of power by the government. They feel betrayed by a government that has heavily disappointed them with their lackadaisical running of the country’s affairs, which has brought many to a breaking point.  Seli, a friend of a detainee, shared how angry this whole process makes her feel. “It started off as a very scary thing, how ‘people in power’ decided to handle the protest. A group of old people somewhere suddenly feel threatened by a group of young, educated people. Protests happen every day in this country, but suddenly, it is this caliber of protests they choose to stifle and intimidate protestors. It is very upsetting seeing the way they [the leaders] have been moving, how they are blatantly disregarding human rights and disrespecting the law. Initially, it was scary, but now I am just angry at their audacity, feeling like they can get away with this. A friend of mine being a detainee was hard to come to terms with, but my friends have come together to create a community where we can cheer and console each other and be there for our friend.”

Mo asserts the need for trust between all parties and the system. “There is general distrust among citizens of the country and the hard lining in what happens to be partisanship treatment of the demonstration, where some people believe the protestors are agents of the opposition and the government does not believe there is genuine concern for the demonstration,” he explains.

“The protestors need to also express their frustration because the issue of galamsey is a national concern, and they feel they need to awaken the government. The effects of galamsey affect our lives as Ghanaians. I still believe protestors need to be treated fairly. The moment someone protests, it means there is a concern to be addressed. Any government should lend an ear to protestors and address them in due time but not immediately stampede with all the force of the state. We need a level of trust within the judiciary, the executive (police), and the citizenry.”

Seli also believes politicians need to understand their role in governance. “My perception of the government has not changed. I never thought they were good people. There is this misconception that ‘people in power’ are powerful, that they’re masters, but what they fail to remember is that they are servants, public servants. They are supposed to serve the people, and this has just reminded me of how much of a dissonance there is between what their actual job is and what they think their jobs are. This has proven to me that they are really committed to destroying and tearing this country apart just to fill their pocket.”

Across social media, people are calling out organizations, celebrities, and anyone of influence to draw attention to what is happening in Ghana. The push for the release of those arrested under the #FreeTheCitizens campaign on social media is quickly attracting attention, with another protest taking place from October 3rd to 5th to demand the release of the arrested protestors. With most of the detainees still awaiting their day in court, it’s left to be seen what the full ramifications of these arrests will be.

The issue of Galamsey should be treated as a national emergency and not peddled as political party disputes. The stance of the police and judiciary in handling this case sets a bad precedent that undermines the rights of the people and tenets of the constitution, which states the protocols that should be adhered to when it comes to issues like this. Sections of the youth, despite state pushback, remain committed to not only pushing for the freedom of the detained protestors but also a ban on Galamsey, among other pressing issues affecting the state of the country. 

Identify: PDSTRN’s Path To Hip-Hop Glory

In June 2022, PDSTRN, born Bennett Obeya, captivated rap fans around the country with his performance in the eighth season of the Hennessy Artistry VS class. The Lagos-based rapper worked his way through the fiercely-contested competition, impressing judges M.I, Ladipoe and Vector at each round and eventually defeating underground rap phenom BarelyAnyHook in the finals. 

“In the underground scene, BarelyAnyHook at the time was someone you wanted to get on your song. To be honest I never thought I was going to win,” PDSTRN tells me of his triumph one afternoon in late August. He seemingly had it all – witty wordplay and punchlines, a menacing flow and most importantly, personality – but just about a year before his rise to the top of the 2022 VS class, the rapper had choked in the first round of the same competition, and vowed never to return. 

Born in Ojodu Berger, a bustling suburb that sits between Lagos and Ogun state, PDSTRN didn’t always harbor dreams of being a rapper. A nomadic childhood which saw the rapper shuffle between Lagos and Toronto meant he didn’t really fit in with his peers and he also didn’t settle on a career path as early as other kids did. His dad, a retired boxer and avid sports fan, initially wanted a career in sports for him as well but he remembers his mum not buying into the idea. “When my dad saw I had some interest in football as a kid, he wanted me to go to a football academy but my mum wasn’t having that. She wanted me to go to school and get a formal education,” he recalls fondly. 

 

 

 

 

 

 

It was during his time in school in Toronto – the 7th grade – that PDSTRN finally found rap and began to nurture aspirations of being a rapper himself. Even though he grew up listening to a lot of music thanks to his grandmother, his mum and her younger sister, rap was largely absent from his early childhood. “My grandma used to play music from artists like Tope Alabi, Baba Ara, Shola Allyson while my mum’s younger sister used to play stuff from acts like Faze, Artquake, and Dr Sid. My mum, when she was around, would play stuff from Brick & Lace, Enrique Iglesias, Shakira, Spice Girls, and a shit ton of Bollywood,” he tells me of his early musical influences. 

Nas’ ‘Godson,’ however, represented PDSTRN’s gateway to rap music. After he got introduced to the legendary American rapper’s sixth studio album by some friends in school, he went down a rabbit hole of rap history, acquainting himself with seminal albums and discovering artists that have since helped shape his own artistry, and have also remained prominent sources of inspiration. “After discovering Nas, I started to find other rappers,” he recalls. “I began to listen to a lot of Cudi, Eminem, Goldlink and a couple of other rappers.”

 

After his introduction to rap, PDSTRN began to write his own bars and freestyle for an audience of mostly friends. “One day I tried rapping in front of a couple friends and they thought I did okay but one guy goes: ‘Nah bro that was pedestrian.’ I didn’t even know what the word meant in that context so I went home, looked up the word and then decided I was going to choose that as a stage name,” he tells me of his early freestyling days. In 2018, he moved back to Lagos from Toronto and after months of sharpening his rap skills, and signed up for that year’s Hennessy VS class. Unfortunately, he was not accepted on his first try and decided to try again the following year where he got knocked out in the radio rounds of the competition. 

He tried for a third time in 2021, this time far more confident and armed with even more sharp bars and punchlines, but he couldn’t make it past the first round again after choking on stage. “I remember going into the restroom and just bawling my eyes out because I knew there was nobody there that I couldn’t beat with what I had,” he says, recounting the unsettling experience. After a fruitful conversation with rap legend M.I led to him seek professional help for his stage anxiety, he returned in 2022 and prevailed in swaggering fashion. 

 

 

Since his victory at the 8th edition of the competition, PDSTRN has slowly but surely established himself as both a competent rapper and a well-rounded act with a desire to constantly expand the scope of his music. “The Prologue,” a two-pack single which came a few weeks after his Hennessy triumph, put on display the sort of sharp punchlines and fiery energy that helped him come out on top in the 2022 VS class, as well as his eclectic taste and influence. This desire to be a musical omnivore of some sort has helped foster collaborations with like-minded acts like Sholz, one half of NATIVE Sound System, who he is set to release a collaboration tape with. 

“Shoutout to Temi, [Discovery Deck founder]. At the time she was still at Discovery Deck and I used to send her a couple of my songs and she would give me some feedback. One day she just hit me up and tells me Sholz is working on something and she gives me an address to go meet him in an apartment,” he tells me, explaining how his relationship with Sholz started. The two hit it off fairly quickly and worked on a couple of songs together, one of which ended up on Sholz’s 2023 EP ‘Breakfast In Lagos.’ A few months after their first encounter, Sholz reached out to the rapper to work on something more elaborate. The two began ideating about the project in October 2023 and about eight months later, ‘ROCK, PAPER, SCISSORS’ was officially complete.

PDSTRN speaks of the forthcoming tape highly. He also relishes the opportunity to have worked on a project with Sholz, the talented producer and DJ who he describes as very meticulous. “From the sequencing, to the recording, to skits, even down to the sound of my chains. I learnt from him that these really minute and intricate details can be very important to the development of an entire project.”

 

“Idan,” the lead single off the project, gave a teaser of what’s to come, once again showcasing PDSTRN’s dynamism and lyrical prowess, both of which is nicely underscored by Sholz’s infectious drums. 

And while ‘ROCK, PAPER, SCISSORS’ promises to provide refreshing and distinctive music from two incredibly gifted acts, for PDSTRN, the ultimate goal with this project and his music in general is mental emancipation. “Whether I’m talking about women, money, whatever it is, the goal is always to present my actual reality. Art needs to be angry, it needs to be provoking. I believe art is an instrument for social change and so whatever form of art you’re doing, I believe it has to provoke people in some way. That’s how I want people to take my music.”

NATIVEMag Presents: NATIVE Horror Stories

African history and culture are steeped in oral traditions and storytelling, but as tales are passed down through generations, their details often evolve. The transmission of these stories over centuries has led to variations—embellishments have been added, details have been lost, and regional differences have emerged. As Halloween approaches, we thought it’d be a great opportunity to re-enact some of these timeless tales. 

The NATIVE invites you to participate in our horror short story competition, NATIVE Horror Stories! We want to hear your most terrifying ideas, inspired by the rich and diverse heritage of Nigerian myths, tales, legends, traditions and more. We challenge writers to engage in research-driven exploration of these folklores and traditions, unearthing lesser-known details, interpreting the historical contexts, and crafting fresh narratives that infuse horror into these timeless tales we’ve been told all our lives.  

JUDGING

Final selections will be made by Nigerian fiction writer, Eloghosa Osunde.

Eloghosa Osunde is a multidisciplinary artist. Author of critically acclaimed Vagabonds! (2022) and Necessary Fiction (forthcoming 2025), they are the winner of MoAD’s African Literary Award 2023), the Plimpton Prize for Fiction (2021) and an ASME Award for Fiction (2022). Their debut novel was widely lauded: a New Yorker Best Book of The Year, a New York Times Editors Choice, a NoName Book Club Pick, a finalist for a host of notable awards; and their work has been published by Paris Review, Granta, Georgia Review, Atmos, Lonely Planet, Best American Short Stories among others.

Make your submissions here.

Featured Image Credits/[The NATIVE]


 

Meet Internet Girl, The South African Band Breaking All The Rules

internet girl (2)

Meet Internet Girl, The South African Band Breaking All The Rules

Ahead of the release of the video for “PULL UP” The NATIVE speaks to the trio about their career and the process of putting  ‘ROLE MODEL’  together.

Written by Wale Oloworekende – 3.Oct.2024





For the better part of the last decade, popular music from South Africa has undergone a seismic transformation. Amapiano, the generational, almost spiritual variant of Dance music that was born in the country’s townships,  has gone on to dominate dancefloors both at home and abroad. Crowning stars such as DJ Maphorisa, DBN Gogo and Uncle Waffles, Amapiano’s dominance has led to a marginalisation of other genres in the mainstream conversation, with radio and show promoters casting aside acts that don’t incorporate the now inescapable log drum. 

 

Just over a decade ago, a similar shift was occurring in Nigeria. As Afro-Pop rose to prominence, led by stars like Davido, Wizkid and Tiwa Savage, any artists not conforming to the sound of the day were alienated by the gate-keepers and industry tastemakers. What happened next was a cultural phenomenon known as the Alte movement,  with artists and the communities that surrounded them – directors, producers, stylists – bucking against the machine, and making the music they felt like making. This movement propelled the likes of Burna Boy, Tems, Odunsi The Engine, Cruel Santino and more, as they started speaking directly to their fans, realising there was indeed a space for alternative music in West Africa. 

 

Enter: Internet Girl, the three-piece South African band attempting to do the same, by breaking all the rules. Fusing Punk-Rock with Alternative Pop and an undeniable Hip-hop influence, the trio possess a distinct sensibility to deliver music and visuals  that at once feel fresh and alternative; but somehow viscerally familiar. But it’s been a long road to this point. “It was very hard initially,” Matthew “Neese” Burgess, Internet Girl’s drummer and producer tells me via Zoom. “We were not focused on South Africa because we were like, ‘We don’t care about the African territory, we’ll just make music for the US because no one is going to fuck with us on this side.’ [So] we were doing that for a while, we weren’t playing shows or getting booked for shows but we were streaming well. Since last year, we’ve had a rethink and now know that we can manoeuvre these things so people in South Africa and Africa can fuck with us in terms of the swag that we bring and our image online. If you bring a sense of Hip-hop into your brand, people will like it even if you’re making guitar music. That’s what we’ve done and it’s easier to get booked for shows. We know where we fit in the scene a little better. We do care about our local territories and we appreciate everyone that fucks with us.”

 

 

The band is made up of Burgess, lead vocalist Ntstika “TK” Bungane,  and guitarist/producer Griggs, who Bungane and Burgess met in 2019 after they found videos of him playing their songs online. As Internet Girl, the trio has released a wide range of projects exploring everything from the dark hole of melancholia to the zonked out escapism of indulging in narcotics. And after years of living in separate cities and figuring out their process, their 2024 project, ‘ROLE MODEL,’ finally saw them deliver a body of work that bears all the hallmarks of the grandeur and candour that Internet Girl aims for.  A deluxe version of ‘ROLE MODEL’ houses “PULL UP (WHERE THE MUD BE),” their biggest song yet, that came about after Burgess flipped a melody he’d heard in a TikTok ad. 

 

Alongside an exclusive premiere of the Royd-directed video for “PULL UP (WHERE THE MUD BE),” The NATIVE spoke to the trio about their career and the process of putting  ‘ROLE MODEL’  together.

TK

Where did the name of the band come from?

 

TK: At a point, Matt and I were in a previous group and we just needed to change the name and everything. We were sitting somewhere and he was like, “Something like an e-girl or an internet girl,” and we just went with it. 

 

Griggs: That’s the least interesting thing about the band because it doesn’t mean anything. It’s just a cool name. There’s no meaning behind it.  

 

How did you all meet?

 

Neese: TK and I met in primary school. We’ve been homies since grade five. We were 10-year-olds so that’s about 15 years now.  We’ve been homies for most of our lives and we were making music in high school. We met James over Instagram in 2019: he posted guitar videos of him playing our music and we liked it. He flew down from Cape Town to Jo’burg because TK and I were living in Jo’burg at the time. We just got to know each other and made music together. It worked out and he joined the band. 

 

How has the dynamic been moving from being a duo to being a trio?

 

TK: It’s not been a big shift because with James, from the moment I met him, it felt like I’ve known him for a while. He has a cool temperament and likes the same music as us so it was quite easy to form a group and add him. With regards to responsibilities, they’re both producers and [they’ve taken] that role with the production we’ve had in the past. Now, we’ve all developed our skills differently and started taking on different responsibilities and roles. 

 

Neese: We all have our different roles but it’s kind of naturally just evolved based on our different skills and what we’re good at. Everyone contributes to different things but it works out well and we’re all happy with the dynamic we have now. 

 

The music you make has evolved from a heavy Trap influence to more Indie-Pop and Punk. What motivated that evolution?

 

Neese: I think we’ve learned to combine genres because we’ve been fans of different genres at different points in our lives. TK and I used to make a lot of Hip-hop and Trap stuff then we used to make a lot of Indie-Pop stuff because that’s the music we were listening to at that point. I used to listen to a lot of Electronic music back in the day and that’s how I started making music. As time has gone by, we’ve figured out a good way to combine all these things and it’s created a unique sound. 

 

Griggs: If I have to think back to when we started the band, what we all brought in was very different and, after five years, we’ve all become so much better at different things. We are all capable of doing everything because you’re spending your time with everyone and your general music-making ability is all-encompassing rather than just doing one thing. For example, when we’re in the room together, everyone contributes to every piece and it’s fun. 

 

TK: With regards to the different genres, it’s always a reflection of what we’re listening to at the time. Our tastes change and that comes out in the music. 

 

What was the process of making ‘Parasocial Interaction?’

 

Neese:  Parasocial Interaction’ is the EP before ‘ROLE MODEL.’ That EP is kind of a collection of singles similar to ‘The World I Love’ before it. We didn’t sit down and say, “We’d make an EP that sounds this way.” We were at a weird point in our career where we were living in different cities and weren’t spending a lot of time in the studio together. It was a true parasocial interaction. That whole project happened over the internet because we weren’t playing shows or doing anything. We were sending each other stems back and forth to do the songs and, I think, that was the inspiration behind it but I wouldn’t say the music is very thematic in that sense. 

 

Griggs: I think ‘ROLE MODEL’ is our first piece of music that’s so cohesive because, after this much time in a band, we finally felt like it was the best representation of a conceptualised project representing what Internet Girl is about.

Neese

How did you approach making ‘ROLE MODEL’ ?

 

TK: ROLE MODEL’ started towards the end of our ‘Parasocial Interaction’ era. We call it the Internet Girl flop era because we weren’t doing much together and we decided to make sure the next project was done properly. We left too many loose [ends] and weren’t intricate on ‘Parasocial Interaction.’ We wanted to go in on ‘ROLE MODEL’ and I think we did a good job. 

 

What was the best thing about working on ‘ROLE MODEL’ together?

 

Neese: I think the best part was the experience of making it. We learned how to work in studios together properly whereas a lot of our music before then was done individually even when we lived together. I would work on music in my room, James would work on music in his room and TK would write in his room. Then we’d come together later to put it all together but, with this one, we just learned how to sit in a room together and make it all work.

 

Griggs: I had a lot of fun working on the project. It was one of the most fun times I’ve had because I was just spending time with the boys and working on music. We’re all like best friends and making music is just what we do together. 

 

TK: I think with the previous projects there was a little bit of doubt in terms of what sounds to do. With this one, we were sure it was the right direction to go in and we just did it. I was also a little bit more involved in the production process and just contributed more to how everything sounded. 

 

TK said that he got involved with production a lot more on ‘ROLE MODEL.’ What was the approach to making the songs, was it instrumental first and then writing or was it the reverse?

 

TK: The first song I did was the song, “ROLE MODEL.” I had just returned from work and I was pissed off so I needed to get it out. I didn’t have the boys with me but I needed to make the song so I had to work on it. I got home and started working on the guitar and playing around with the drum loop on FL. I made the most terrible drum sounds just to get the rhythm and I put it all together. The next day, I was pissed again so I wrote on it and sent it to the boys. So for me, the idea often came first before the actual production took place. 

 

Griggs: It was half-half. “EVERY MAN FOR HIMSELF,” “ROLE MODEL,” and “COKEHEAD” started as rough guitar ideas and vocals that were then produced but instrumentals were premade for the rest of the songs on the project before TK wrote on them. I think it’s also fun to have these different approaches to it because it shows we can come together and make music in many ways. 

 

TK: I think you can also hear the difference between those tracks even though they are on the same tape, they kind of exist in two different sections. 

 

You also live in South Africa, which is having a huge global moment with Amapiano right now. How have you navigated making music that falls outside of that?

 

Neese: It was very hard initially. We were not focused on South Africa because we were like, “We don’t care about the African territory, we’ll just make music for the US because no one is going to fuck with us on this side.” [So] we were doing that for a while, we weren’t playing shows or getting booked for shows but we were streaming well. Since last year, we’ve had a rethink and now know that we can manoeuvre these things so people in South Africa and Africa can fuck with us in terms of the swag that we bring and our image online. If you bring a sense of Hip-hop into your brand, people will like it even if you’re making guitar music. If you have a Hip-hop swag, dress well, are cool online and have that influence in your music as well, people will like it. That’s what we’ve done and it’s easier to get booked for shows. We know where we fit in the scene a little better. We do care about our local territories and we appreciate everyone that fucks with us. 

 

Griggs: There are aspects of what we do that are novel but there are also parts of what we do that are familiar to people and it makes it palatable to them. There’s something about it that’s not only not been seen but also not heard before. We also want to show the world that alternative music can come out of South Africa and the greater African region that’s not Amapiano or Dance music. 

 

TK: People didn’t know what to expect or what to do. They used to be like, “Who are these people, two white dudes and a Black guy?” Now it’s cool. When we go to shows now, people know the lyrics and show love. Getting that love is very satisfying.

Giggs

How was “PULL UP (WHERE THE MUD BE)” conceived?

 

TK: “PULL UP” started with Matt. Matt saw a TikTok for an ad by a brand that had a melody. He made a flip of the melody and posted it on TikTok. He didn’t tell anyone but it started blowing up more than any of our other TikToks. People loved the beat. I was already writing some songs with the guitar to finish off ‘Role Model.’ I had just broken up with my girlfriend and I had stuff to say. I pulled up to Matt’s crib to write and he told me that he needed me to write to the instrumental of “PULL UP.” I wrote to it and he was like, “It is fire, we need to drop it.” Even the label wasn’t too sure because it’d fuck up their release plan but Matt insisted that we needed to drop it. We posted a new version of the song with vocals on and that started blowing up too. We did a TikTok saying we’d drop the song if we got 10,000 comments and people started getting pissed and asking why we were gatekeeping the song. I had no idea it would go crazy like it has but it ended up changing our lives. 

 

Do you think that experience has changed your approach to making music?

 

TK: It has given us more confidence in terms of going into the studio and knowing that people fuck with our music. I feel like the perception has changed and people think we’re dope so they’re more open to accepting what we’re putting out which just gives you more confidence. 

 

Neese: Also, I think it’s helped us understand that you can’t be too rigid with your release schedule. You can have a schedule for sure but you need to be flexible otherwise you’ll shoot yourself in the foot. 

 

Griggs: There was no spend. We had spent all our budget on the  ‘ROLE MODEL’  project so all the promo on TikTok and creating the cover art was done in-house by us but it has done better than every song that we put time into and that speaks to the power of social media and branding stuff well. 

 

Finally, the video for “PULL UP (WHERE THE MUD BE)” is here. What was the idea for the video?

 

Neese: We worked with our homie, Royd, on that video. He’s done all our video stuff and we just gave it to him. He was like, “I want to do a black and white video and I want it to be super shiny because the song just has a black and white feeling.” We just trusted him and showed up on the day. Usually, we’re very involved in the process but we just decided to trust him because we were very busy. We pulled up on the day and it was so sick. Maglera Doe Boy was there and it was dope. We’d met Maglera before but it was cool to see him in that environment and watch him perform for the camera. 

 

Griggs: Royd has known Matt and TK for ages so it’s like we’ve built this world visually and sonically with a core group that understands our vision. There are not too many chefs in the kitchen. He’s our guy and we’ve worked with him for so long that he understands us and can pull off something crazy. The video turned out great and we’re so stoked.