Listen to Solis’ debut project, ‘Ruled By Venus, Unfortunately’

The general music soundscape all over the world has never been more independent of itself, and over here in Nigeria we’re welcoming a new vanguard with a wide and diverse range of sounds to suit many different tastes. One of the most special things about this generation of innovative artists is access to a wide range of influences, and the freedom to take experimental risks that veer away from what’s considered the norm, and this is where SOLIS thrives.

In line with this, she has just released her debut project, ‘Ruled By Venus, Unfortunately’, exclusively on Soundcloud and Audiomack, after giving us a good taste of her ability with pre-released singles such as “Angel” and “Watch Me”. Her confident delivery on the 6-track project shows off her vocal range. From the project’s bolshy opener, “fuck boy kiss girls”, to the more mellow closing track, “iloveyou”, SOLIS’ incredible vocal ability is the inescapable focal point of the project.

Solis has carved a unique niche for herself, and we’re looking forward to seeing how her music is received, and definitely also to getting more from her.

Listen to ‘Ruled By Venus, Unfortunately’ here:

 

Beyoncé unveils new music video for “Already” along with the ‘Black Is King’ film

Last month, Hollywood behemoth, Disney along with Queen Bey, announced the imminent arrival of ‘Black Is King’ a visual album for her 2019 The Lion King compilation album, ‘Lion King: The Gift’. As always, with everything Beyoncé does, the internet went into an absolute frenzy and whether you were excited for yet another Beyoncé-helmed exhibition of African talent, or mad at the essentialised depictions of Africa inferable from trailer, the July 31 release date was etched in everybody’s mind.

And it’s finally here.

Available to stream exclusively on Disney Plus (which you can sign up to here), ‘Black Is King’ is a rousing film dedicated to exploring Black ancestry, traditional African customs through the lens of an uplifting modernised Lion King story. Shot around the world, from West Africa to Belgium to South Africa to America’s East Coast, ‘Black Is King’, features, Shatta Wale, Tiwa Savage, Adut Akech, Yemi Alade, Lupita Nyong’o, Aweng Chuol and a few other African stars.

Directed and executively produced by Beyoncé, ‘Black Is King‘, which has been a year in the making, also credits an innumerable number of African creatives behind the scenes, such as Kwasi Fordjour, Meji Alabi, Ibra Ake, Emmanuel Adjei, Daniel Obasi and many more. Unfortunately, without Disney Plus access, you won’t be able to watch the movie, but Beyoncé being Beyoncé has given us even more incentive to hop onto the streaming site, by unveiling the new, appetite-whetting video for one of The Gift‘s standout tracks, “ALREADY”. 

Opening with a soundbite from The Lion King, the video for the Major Lazer and Shatta Wale-assisted song captures Beyoncé dancing effervescently or posing majestically in a myriad of locations. She and her dancers take over an underground space dressed in Marine Serre, she’s a mounted queen beside King Shatta Wale, she’s at one with nature holed up in a tree and the leader of an iridescent biker squad.

The video for “ALREADY” has a plethora of cuts, one of which was leaked last week, and caused much excitement to Nigerians as we saw Beyoncé doing the Zanku. As she parties with the cast and crew of the “ALREADY” video, Beyoncé is also spotted hitting another popular Nigerian move, kpakujemu. She’s quite savvy with her West African dance moves.

Black Is King’ will be available on DSTV channel 101 tomorrow at 8pm.

Watch the exciting video below:


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ICYMI: Listen to Nissi’s debut project, ‘Ignite’

Maleek Berry drops new project, ‘Isolation Room’

Even without a full-length project to his name, Maleek Berry has risen to an undeniable level of prominence, especially since his transition from producer to full-on artist. The latter part of the last decade saw him deliver a row of hit songs and two well-received EPs, and he’s also played his part in Afropop’s global agenda, featuring on international collaborations with Estelle, Kid Ink, Goldlink and more.

For his very first release of this year, the singer/producer has now shared ‘Isolation Room’, his first project in well over two years. Hours before the drop, Maleek Berry clarified on his Twitter that ‘Isolation Room’ is not an EP or an album, rather “it’s a collection of songs for my fans who have been waiting”. The collection comprises seven new songs, and it features Tiwa Savage as the sole guest.

Listen to ‘Isolation Room’ here.

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ICYMI: WATCH TEMS’ NEW MINI-DOC, “FINDING PEACE IN THE NOISE”

Listen to Nissi’s debut project, ‘Ignite’

Spaceship Ent artist, Nissi Ogulu has just released her debut project, Ignite, with the aim to introduce all the layers of herself to the world. She describes the EP as her truth and the means for her to send her message across to the world, and upon first listen, she’s definitely got the job done.

Housing 7 tracks with a diverse range of sounds, Nissi had been whetting our appetites for the project with pre-released singles “Trouble”, “Tornado” and “Judi”, which gave us a good idea of the quality we should expect from her. In a brief conversation with The NATIVE, Nissi explained that everything she releases is like peeling back the layers of an onion, and she’s slowly introducing the whole world to her vast talent.

Throughout each song, Nissi sonically transports us through a sonic journey with the final destination being a connection to yourself. From the standout track, “Holiday”, where she sings in Fresh and is aiming for people who are listening to live as freely as she seems to be on the song, to the closing track “Babalawo” which aims to provide listeners with a firm rooting of who they are using Yoruba influences, the project is an encapsulation of her wide influences from all over the world.

Speaking to The NATIVE about her music, the singer said:

What’s the point of saying anything when it’s of no value? What’s your value add? For me, it’s not about the popular phrase of ‘I just caught a vibe’, the vibe is important, but like what are you saying? The real skill is being able to say something that people can understand and enjoy easily.

The best music is the kind you can feel, and you’re bound to feel something from Nissi’s debut project.

Listen here:

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ICYMI: WurlD makes a mark with his debut album, AFROSOUL

Burna Boy Joins Sam Smith on the wistful “My Oasis”

Pairing up with Lily Allen, Stormzy, Four of Diamonds, JHus, Dave, Ed Sheeran, Burna Boy is very familiar with UK musicians, so whilst we never would have expected this latest collaboration, we aren’t all that surprised that Burna Boy has now lent his vocals to of the the UK’s most magnanimous voices, Sam Smith.

 

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An effusive pop number, “My Oasis” begins with the melancholy strokes that permeate the track through its sad, longing lyrics. An R&B backing track, complimented by brief stints of Latin strings, follows Sam Smith throughout their opening verse up into their quintessentially pop crescendo, which culminates in a lamenting chant of the song title “my oasis”, followed by a plaintive confession from Sam Smith that “there’s nothing I can do when it comes to you”.

Burna Boy enters on the song’s second verse; way off base for the afro-fusion artist, Burna Boy’s performance on “My Oasis” flaunts his versatility. Going through the same motions as Sam Smith, Burna Boy is similarly (albeit unrealistically) dedicated to a lover who is, by the sounds of it, indifferent to him and his love. Hopping back onto the track after Sam Smith’s chorus, Burna Boy signs us out with some nostalgic musings over the outro, leaving listeners longing for more.


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ICYMI: The best musical pairings from the past five years

Patoranking is repping his set in his latest single, “Abule”

A couple of days ago, Patoranking announced that his third studio album would be dropping on August 28 – rumoured to feature King Promise, Sauti Sol and “Girlie O” partner Tiwa Savage, amongst others we hope. Though the project’s name might seem unimaginative, “”Three’ is a strong number” for Patoranking, as, he explains, “it stands for how I see language. In making the album, we tried to look at love, life and happiness.” The lead single, “Abule” fills us with all three: happiness and life, thanks to the inspirited up-tempo beat, and love, as Patoranking sings adoringly to his “Abule” (hood). 

“I’m proud to be from my ‘abule’, Ebute Metta, because to have made it coming from there it’s only by God’s grace. It’s made me who I am today and it’s part of my story. So I waste no opportunity to let people know about my ghetto.”

Premiering with Ebro Darden on Beats1 Radio, “Abule” is a celebration of Patoranking’s home, the neighbourhood of Ebute Metta. Through the dancehall record, Patoranking is effusive about his neighbourhood, describing his community, the fun they have and how dearly he holds on to his locale – despite his huge international success.

Honouring his “Abule” with this one, Patoranking is encouraging listeners to do the same, going a step further than releasing this island-themed number to create a website where fans can create custom graphics to memorialise their own homes zones: repyourabule.com. Hoping for fans to share dedications to their abule on social media using the hashtag #repyourabule, Patoranking aims to open up a conversation about giving back to our communities and also protecting them. 

“I feel it’s important through this new song to give my fans a chance to celebrate their own ‘abules’. And to protect their abules, too. Back in May, my team and I partnered with Ebele & Anyichuks Foundation to go to many ghettos across Lagos to give away masks and relief items. It’s important we stay safe and do our part to protect.”

At present, Patoranking is concerned with the ongoing COVID-19 outbreak that, across the world, disproportionately affects poorer populations, seeking to help them prevent the spread of the virus as much as possible, seeing as how social distancing measures are near impossible in these slum settlements. However from the unjust evacuation of Tarkwa Bay residents authorised by the state government earlier this year, to the demolition of the Otodo Gbame community back in 2017, and the many other forced resettlements (without compensation) of whole local areas, it’s clear that we must all join hands to protect the Abule from another type of virus: the very people who are responsible for doing so. 


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ICYMI: A Cocktail of Violence: Southern Kaduna is More Than a Hashtag

The best musical pairings from the past five years

Collaboration is arguably the most important asset to a musician. Whether it’s working with a producer, tagging along with an established act who’ll put you on the map, broadening your musical scope by teaming up with an artist from a divergent soundscape or simply having fun with your fellow buddies in the industry, collaboration is something all artists do, and something all musicians benefit from.

As such, collaborations exist in abundance. Today, on Apple Music Nigeria’s top 100 chart, over 50% of the songs Nigerians are listening to on the streaming service right now are collaborative works. In 2019 alone Afropop heavyweight, Davido collaborated on almost 50 tracks, whilst Cruel Santino the year prior didn’t release even one solo track, working with his peers to deliver timeless bops such as “Alté Cruise” and “Freaky”.

With collaborations being so popular within the music industry, our followers weren’t hard-pressed to find an answer our Tuesday afternoon conversation starter:

But on our side, as music experts dedicated to pointing our readership in the right direction always, our job is only made more difficult with so many strong pairings to pick from. Who are those two GOATs really? Is it Santi and Odunsi on the career-defining “Gangsta Fear”, the provocative “Am I A Yahoo Boy” duo, Naira Marley and Zlatan, Simi and Falz on “Soldier”, Wizkid joining Olamide on his breakout “Omo To Shan”, or even music vets Jazzman Olofin and Ayuba on the club banger that has remained timeless, “Raise Da Roof?

Well, from year to year, as our tastes change, so do the GOATs; from the past five years, these are the pairs that have delivered the top 3 team-ups.

2016

It’s hard to think of 2016 and not remember the summer of dancehall Drake who delivered the trifecta of “Controlla”, “One Dance” and “Work”, the last of which was a Rihanna assist. Whilst Wizkid was doing his thing in the overs, enjoying fresh acclaim from his “Ojuelegba” remix the year prior, firing the clubs up right alongside the international acts were vernacular rappers like Phyno and Olamide, and Sarkodie over in Ghana. At the same time, two boys who would change the face of Nigerian music forever were also laying their foundations.

3. Phyno ft. Olamide – “Fada Fada”

First breaking out with his Wizkid assisted “Omo To Shan” – also a strong collab itself  – it didn’t take long for Olamide to secure his title as the king of street rap in Nigeria. A few years later when Phyno burst onto the indigenous rap scene, diversifying the space with sounds from the East, the two made a formidable pairing who to this day, continue to drop lasting collaborations.

Playing right into the loud, up-tempo, instrumental preferences of a typical Lagos party, Olamide and Phyno’s “Fada Fada” went off at every engagement and boomer birthday, doing a solid job of uniting both Igbo and Yoruba cultures in collective celebration.

2. Patoranking feat Sarkodie – “No Kissing Baby”

Patoranking sure knows how to pair up. Tapping one of our talented neighbours, Sarkodie for this 2016 banger, Patoranking left an imprint in club scenes from Nigeria to the UK and right back to Ghana. There might not have been much kissing, but there was certainly a lot of touching, whining and gyrating to this one, way back when.

1. Cruel Santino ft. Odunsi The Engine – “Gangsta Fear”

Not too much needs to be said of this game-changing collaboration. Bringing Odunsi to popular consciousness and defining Santi’s signature flow, “Gangsta Fear” opened up a sonic revolution in Nigeria, inviting in the diversity of sounds we enjoy today. Fairly new in the game at the time, the song went on to become a certified and undeniable hit in the years to come.

2017

As 2016 is known for its Drake run, so 2017 is characterised by Davido’s back to back to back to back solo hits #thatyear. But just because Davido was keeping his tracks to himself doesn’t mean everyone else wasn’t out creating collaborative masterpieces. With his grossly underrated ‘Sounds From The Other Side’ Wizkid was fully capitalising on his growth within the global music industry, Runtown followed in Davido’s steps to tap the coolest kid in Africa, Tiwa Savage lit the fire for what would become another unfortunately androcentric scandal, Odunsi & Nonso Amadi were cultivating their underground following and Ycee was prepping to show the world just how much he’s got with the help of Maleek Berry.

Collaborations were rife #thatyear, but none could top these three:

3. Tiwa Savage ft. Wizkid – “Ma Lo”

Both long-standing Nigerian pop stars by this point, it’s rather shocking that “Number one African Bad Girl and Star Boy” hadn’t given us a hit single together before “Ma Lo”. But when they did, oh, they did. With a delicate Spellz production, “Ma Lo” features one of Wizkid’s most memorable performances in recent time, which perfectly complimented Tiwa Savage’s command of the track.

2. Ycee ft. Maleek Berry – “Juice”

Produced to perfection by Adey, Ycee’s “Juice” showed a completely different side to the “Jagaban” rapper, as he swapped out the lively Olamide-ready beat for softer tones, suited to the likes of Maleek Berry. With an easily captionable hook that fittingly describes the song (“too much juice too much sauce”) this unsuspecting collaboration between Ycee and Maleek Berry made huge waves that year.

1. Wizkid ft. Drake – “Come Closer”

Though pop culture hindsight might encourage us to focus on the fact that Drake refused an appearance in the two music videos Wizkid put out for this jam, we dare not overlook just how powerful this here record really was. Recorded at the same time as the chart-topping “One Dance”, Wizkid took full control of this Drake collaboration, making up for the fact that his sensational verse was mixed into a bridge on the Billboard No. 3 record.

With a lengthy Drake verse that hits as hard as anything on the 2016 project, Views, and a lulling yet still captivating Wizkid performance, coming at the top of the year, “Come Closer” was a hard act to follow. And no duo managed to.

2018

‘Welcome back, Duncan Mighty’ read the banner as we entered into the new year. Duncan Mighty’s return to music back in 2018 illustrated the industries adventurous year. Not your typical Girl Next Door, Teni Makanaki became the star of the show, whilst the Alté scene made it clear alternative music in Nigeria was here to stay. In 2018, music finally broke free of its afropop chokehold, leaving room for a broader range of talents coming to the fore. With the inception of Bojebutter and one of Davido’s best features on Fresh L’s “Firewood” in 2018, the landscape certainly seemed more welcoming, but ironically the sound that still managed to hit the mark in terms of dual collaborations had afropop at its heart.

3. Fresh L ft. Davido – “Firewood”

Back in 2017, we were introduced to Davido’s unmatched proficiency on a Fresh VDM beat, and, recorded back then, “Firewood” was another hit in their combined catalogue. Pitted as one of Davido’s best feature performances ever, “Firewood” might not have done the same numbers as some of the year’s other couplings did, but its resounding success speaks to just how fire this duo is. More of this please.

2. Boj & Ajebutter – “Yawa”

The people will always be hungry for some Boj and Ajebutter – they have 2014’s “Omo Pastor” to thank for that. Lead single off the first installation of their joint venture, Make E No Cause Fight, “Yawa” reminded listeners of just what we were missing and left us thirsty for more from these two. They delivered on the EP and, rivalling Olamide and Phyno, don’t stop coming back with joint hits.

1. Wizkid & Duncan Mighty – “Fake Love”

“Soco”, “Kana”,Nowo“, “Fake Love”, “Energy (Stay Far Away)” after overstated criticisms of his 2017 EP, ‘Sounds From The Other Side’, Wizkid brought it back home, making an undeniable impression on the Nigerian music industry. To be honest, “Kana”, “Energy” and “Fake Love” could easily have filled this top three. But “Fake Love” will always take the cake as the number one pairing of 2018, thanks to Duncan Mighty, the unexpected comeback vet who led this record into its various high ranking chart positions.

2019

Zlatan made an indelible mark on the music industry in 2019. Kicking off the year on Burna Boy’s award-winning “Killin’ Dem“, Zlatan went back to team up with previous collaborator, Naira Marley for the tongue-in-cheek “Am I A Yahoo Boy”. The first single brought the Zanku trend, pioneered by Zlatan on “Able God”, into 2019 the mainstream, setting the tone for what the rest of the year would look like. The second single certified that this was the sound that would dominate the year – it was in this sonic atmosphere that newcomer Mojo’s hard-hitting “Chop Life Crew” was primed to thrive.

3. Mojo ft. Prettyboy D-O – “Chop Life Crew”

Released during the Homecoming Easter fanfare, “Chop Life Crew” grew into prominence in the months to come, becoming the song of the summer. Coming in like a thief in the night, Mojo took us to the streets, forcing listeners into more sinister notes as he spread camaraderie, free-spiritedness and confidence over the outstanding Ronehi and Le Mav produced beat. We’re still thanking him for it.

2. Naira Marley ft. Zlatan – “Am I A Yahoo Boy” 

With the Chocolate City crew and their adversaries preoccupied with debates over who exactly is the best rapper in Africa, or even just here in Nigeria, Naira Marley was setting the record straight, on the record. Even EFCC couldn’t get enough of this song, it would be an undeniable number 1. if not for that other giant Zlatan feature.

1. Burna Boy ft. Zlatan – “Killin’ Dem”

Name a more suitable number 1., @ us.

2020

The year isn’t over but we’ve heard some incredible collaborations, and they’re all still fresh in our minds, making this ranking the toughest no doubt. From Burna Boy hopping on Buju’s “L’enu” to Tems finally gracing an Odunsi track with her magnanimous vocals, there’s already a strong list of Siamese GOATs to pick from. But off what we’ve heard of this year so far, these three records have more than earned their spots on the podium.

3. Buju & WANI – “Company”

Produced by Higo and HVRRY, this dynamic record pairs Buju and WANI, who both take a distinctly different approach to the song, but come together to produce something truly bewitching. Crowned the Best New Music of the week it was released, “Company” is an infectious song that could move crowds at a concert, when the time comes, and also play softly through your bedroom speakers if you’re in the mood for a chilled atmosphere. That’s the kind of versatility you’d expect to find in a top 3.

2. Cruel Santino ft. Octavian – “End of the Wicked”

His first official single since ‘Mandy & The Jungle’, “End of the Wicked”, named after the Nollywood horror movie, is an introduction to Santi’s latest universe and a clue into what he got up to in the year between the album and this single. The long pause – like the one that appears at the start of the song – was worth it. Bring on the tongue twisting in Santinese, please.

1. Ladipoe ft. Simi – “Know You”

Ladipoe and Simi’s duet over the chorus is legitimately flawless and in itself is enough to put this jam at number one. But “Know You” does a whole lot more. The lyrics are relatable, the music video is adorable and the performances are A1, and earned several weeks at number 1 across many different charts. They’re likely to stay on top of that mountain.

Social media challenges and their impact on our listening experience

The post-digital age and the advance of streaming may be revolutionising the way in which we listen to music today but it is also redefining the ways in which music is being distributed and marketed to today’s listeners. Gone are the days of artists relying solely on mixtapes and DJ’s, to get word of their new singles or projects out, because there are a plethora of marketing tools which they can now rely on to increase the longevity of a song’s shelf life.

Some of the most common techniques include merchandising, ticket bundle sales, exclusive content, and viral challenges, which could either be in form of freestyle challenges that attract a cash prize or viral dance challenge like those commonly seen on TikTok. These all, in one way or the other, contribute to incentivising single or project sales for an artist – in a functioning society, that is.

Over in Nigeria, however, the absence of a verifiable one-stop-shop for all streams across different DSP platforms means that ascertaining the effect of these techniques on boosting the commercial success of a single or project is more difficult to readily quantify. Regardless, artists from these parts are still known to use one or more of these techniques to their advantage, as we have frequently seen from the world of hip-hop where viral challenges have become a marker to unite different voices and prolong the buzz around a hit song.

Take, for instance, Don Jazzy’s Enigma challenge from #thatyear, undeniably one of the biggest freestyle challenges from these parts in the last decade which caused quite the stir at the time as everyone was gunning to come out victorious. While the “Enigma” challenge had its own twist – the beat was made specifically for the challenge as opposed to being an already released song – it was all anybody could talk (or rap about) as it took over the airwaves and social media. There have been many iterations over the years that have connected a host of artists around the continent.

From Kizz Daniel’s “Fuck You” to Mayorkun’s “Geng” challenge, artists have commercialised on already amped-up hits by allowing more established artists to take the reigns and create some exciting buzz while also allowing newcomers have a space to show their undeniable talent.

Currently, Ladipoe’s #LemmeKnowRemix is the latest challenge making its rounds on social media as the rapper called for fellow artists and fans alike to submit their freestyles to the song’s instrumental, which just got further boosted by a feature from Teni.

Speaking to The NATIVE, Ice Michael, Head Of PR, Mavin Records said:

“Social media platforms are very important for direct fan engagement. Especially in this time during a pandemic, when people are looking for entertainment and tend to spend more time on their social media than normal. With access to the right audience who were willing to engage with Ladipoe, there was a high conversion rate.”

This won’t be the first time Ladipoe has caught the attention of the social media sphere, as just a few months ago, he launched a TikTok challenge for his chart-topper, Know You” featuring Simi. Beyond the fact that it’s a great song, the interaction with fans no doubt helped the single’s sales, and contributed to the song still remaining in the charts for so long after release. From these two examples, it’s clear that Ladipoe understands the value of connecting with the people consuming his music, and the self-proclaimed Leader of the Revival has found himself a sweet spot.

The rapper himself confirms this saying:

“It’s not like I had an intentional roll out plan. I always had this idea that “Know You” was a conversation, and when I released the song, what stood out to me on TikTok, in particular, was the duet feature. It allowed me to give a template for how I wanted fans to interact with the song, and I’m really glad it worked out.”

 

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Since his call for submissions, many budding artists have thrown their hat in the ring, to flex their lyrical chops. The breadth of responses shows not only that people are listening to Ladipoe, but also how he’s opened up the floor for budding artists to capture the Internet’s attention. This is no new phenomenon, as artists like Rema and Fave have mentioned how virality on social media helped boost their music to the right people, and this suggests that he is actively seeking to pave the way for a new generation.

While these challenges may be good for sniffing out new talent, they are also understated means of elongating the shelf life of a song. For example, Lil Nas X’s monster hit “Old Town Road” first caught on because of social media apps like TikTok, before eventually landing the remix with Billy Ray Cyrus that gave it the #1 spot on the Billboard Top 100 charts for 15 weeks. Here in Nigeria, where there is no cohesive cumulative chart like that of Billboard, the positive effects of challenges like that of Ladipoe’s are even harder to ascertain.

Despite this, Ladipoe’s “Lemme Know Remix” currently sits at #45 on Apple Music worldwide charts and as a new entry, no. #32 on the Turntables airplay charts. Whether these numbers reflect the effect that the current social media challenge has is not easily verifiable, nevertheless, it shows that people are paying attention to Ladipoe and what he’s releasing each time.

In these unprecedented times where we can no longer watch our favourite artists perform, artists are coming up with more inventive ways to capture our attention. Ladipoe is one artist who has consistently shown his determination to deliver at his best, and it’s only a matter of time before we see him paving the way for some of the fresh voices his challenge is attracting, which is in line with his vision to be a beacon of light for the next generation.

We’ve had a great time going through the entries for Ladipoe’s current challenge, and discovering many talented wordsmiths who are floating on the x-produced beat. In light of this, we’ve decided to collate some of the best entries we’ve seen so far and we hope you like them too.

Enjoy.

Featured image credits/Ladipoe


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ICYMI: Ladipoe is the Leader Of The Revival

Songs of the Day: New music from DJ Tunez and Wizkid, El Lomi, Sarz, WurlD and more

The past few months have been difficult to go through. An ongoing pandemic has forced us to significantly curtail movements and social interactions, at the same time fighting injustices on multiple fronts. Luckily, the one palliative we can rely on is the continued and diverse stream of music that has continued to grace ears all over the continent. In a bid to brighten your mood with the finest African tunes, we’ve looked around to bring you four of the best records at the moment – songs you absolutely need to hear.

We started the week with new releases from Korede Bello, Tiwa Savage, Gogowe, Psycho YP, and many more from around the continent. Today, our mid-week selection covers the latest music releases from Ghanaian rapper, EL Lomi featuring Falz, DJ Tunez x Wizkid, Bey T, WurlD and Sarz, Sammie Ca$h and more. Enjoy.

DJ Tunez – “Cool Me Down” Feat Wizkid

“Cool Me Down” is a follow up to DJ Tunez’s 5-track EP, ‘Love Language Vol. 1’, which was released back in July. Singing “Every other day mi steady wanna dey with you” over the mix of Afropop drums, horn harmonies and percussion produced by P2J, Spax and DJ Tunez, Wizkid’s ability to ride a groove remains his strongest attraction with his enchanting melodies complimenting his raw and streetwise sweet-talking lyrics.

Directed by EIRIK, the accompanying video for “Cool Me Down” plays out like a highlight reel of the StayBoy crew’s life on the road as we see the behind-the-scenes cut for the 2019 Starboy Fest at the 02 Arena in London. We see intimate frames from DJ Tunez and Wizkid practising before a performance, as well as cuts of them on stage with thousands of camera phone wielding fans trying to capture every moment. With each artist on the lineup for the show featuring as cameos in the video for “Cool Me Down”, we expect the Starboy fanfare to translate to a hit record we’d be hearing deep into the year.

EL Lomi – “JJ Rawlings” featuring Falz, Gemini Orleans

Ghanaian rapper, EL Lomi’s latest body of work, ‘Leaks 2’ is filled with militant raps especially with track titles like “Heroes Have No Fun” and “No Peace”, which portrays him as a ruthless emcee ready to go bar for bar against any competition. However, on the standout track, “JJ Rawlings”, he teams up with Falz and Gemini Orleans and reveals a more lighthearted side to himself with his comical bars over the trap beat. Saying “Only thing I love more than women is more women” and embracing his local accent to deliver cocky rap bars over the trap beat, he borrows a leaf from Falz’s humorous side, who also contributes a verse along with Gemini Orleans. Though El Lomi remains as aggressive as ever, the new direction adds more appeal to make “JJ Rawlings” a fun and entertaining listen.

Bey T – “Ndio”

Bey T‘s ability to sing and rap allows her to carve out her own niche, as she releases rap songs with enough mainstream appeal to spearhead a hip-hop revolution in Kenya. She recently released the music video for “Ndio”, her latest single since she debuted ‘Concept’ last year. “Ndio” describes Bey T’s struggles with critics and how she had to hustle before her talent was finally recognised. Though she now has hit songs with over a million views on YouTube, we can still hear Bey T’s ambitious mindset, saying “I’m tryna make a super toast/ I want the bread yeah I want that super loaf”. The recently released music video is directed by BOWPA captures her performing the song against colourful backdrops that match the playful harmonies of the trap beat.

Sammie Ca$h – “Intro” Feat. Ijaya

Sammi Ca$h just released his debut project, ‘Paid Attention’, which positions him as one of the experimental artists going against the grain to make melodic Afro-trap songs, regardless of the general audience’s scepticism. For the opening track, “Intro”, he finds the balance between his hip-hop influences and indigenous Yoruba folk melodies by featuring Ijaya, who sings the spiritual hook in Yoruba; “Olorun lo mo ola(Only God knows tomorrow)”. Apart from setting the inspirational tone for the song, it also helped highlight Sammi Ca$h’s innovative sound as he rapped over the fuji-inspired beat produced by Altims.

Sarz x WurlD – “Focus”

The potency of a Sarz and WulrD’s collaboration was first highlighted in 2018 when they first collaborated on “TROBUL”. The pair have continued to deliver catchy Afropop tunes, teaming up on several other releases and even put out a joint tape, ‘I LOVE GIRLS WITH TROBUL’ last November. “Focus” is one of the tracks from the tape which affirmed their immense chemistry, as WurlD laid down his sultry vocals over the ambient production from Sarz. They just put out the animated video for “Focus” done by MOJO Studio and it shows WurlD’s romantic antics before getting his heartbroken by his muse. It’s a sad, yet, relatable tale which will resonate with anyone who is watching.

toni dada – “Desperado” Feat. Tomi Obanure

For years, Nigerian artists have mined rap’s braggadocious aura to depict their flashy lifestyle, but only a few are as convincing as toni dada’s new single, “Desperado”. His laidback Afropop melodies are primed for the dancefloors as he rides the catchy instrumentals while describing his outlandish lifestyle; “Feels like a movie when I step outside/ see when I move, me no need no bodyguard oh”. Tomi Obanure‘s closing verse infuses rap’s cocksure cadence, as he attempts to win the affection of a love interest with his boastful bars. “Desperado” is only toni dada’s second single, however, his brilliant performance on the song shows he’s ready to collect his trophies.

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


ICYMI: These are all the songs you may have missed from ealier this week

Why you should be excited for Seki SuperVillain’s forthcoming project, ‘TECHDRILL’

Introduced to us as Izzy on one of Cruel Santino’s flawless 2018 collaborations, “Icy”, Seki SuperVillain has been on our radar ever since he clued us into his drama-free approach to life: “get the cash then I dash, that’s the plan”.  A Dubai resident like Cruel, Seki is not only a frequent collaborator of Santino’s, he’s also a dear friend, and it was the latter that made Seki embark his first ever trip to Lagos in December 2018. Returning a year later, last December, Seki unwittingly embarked upon a festive holiday that would later be revealed to be the most inspiring few weeks on his journey to project number two, TECHDRILL’.

Fully emerging into mainstream consciousness in 2017, Nigeria’s infant alternative music scene has made lengthy strides to become the globally recognised, far-reaching in influence Nigerian sonic revolution. After just three years on the main stage, the Atlé sonosphere – which isn’t a particular sound but rather a liberating mode of production that nurtures a plethora of different musical preferences – has had a palpable impact on our approach to music in Nigeria. The listeners yearn for diversity in a way that so dramatically contrasts the lust for familiarity that celebrated Davido’s four similarly sounding records as back to back hits (which they were). On the other hand, artists are more emboldened to creating the type of music they want to create, with the raging successes of Santi, Lady Donli and the likes scattering any notion that one must conform to a mainstream sound in order to be successful.

What Seki SuperVillain’s proclamation that “it all started [in] Lagos December” tells us is that the Nigerian helmed scene, which Seki is now a bonafide member of, has stretched its limbs of influence beyond our borders, imprinting on any act privileged enough to come within its orbit. Granted, Seki is close comrades with Cruel Santino – the collaborative mastermind who draws talents from all around the world into his creative bubble – and therefore enjoys enviable proximity to the provocative Alté scene, but shuttling between Dubai and the Philippines, Seki SuperVillain boasts a bank of other musical bubbles from which to mine creativity. It does say something that he’s landed on our shores. Seki’s close affiliation with the Alté scene professes its indubitable consequence on the music industry, both at home and, even more remarkably, now detectable in music spheres overseas.

Seki SuperVillain’s self-titled debut body of work featured Scandanavia’s Noah Carter, his Dubai kin, Lowkey Barone and Young Gaby, and only Prettyboy D-O from these parts. ‘TECHDRILL’, on the other hand sees Seki take a deeper dive into the pool of artistic resources governed by the people who juiced him up during his fateful 2019 December in Lagos. Collaborations with a close friend have multiplied into a feature length mixtape where Seki joins forces with the entire Alté universe, speaking to the influential nature of the movement, and forming reason number 1. why we are so excited about TECHDRILL’.

2. ‘TECHDRILL’ features DETO BLACK

Stepping into the ring with one of the most memorable debut verses, DETO BLACK quickly converted her a loyal following into die-hard rap fans, with her indelible, show-stopping performance on Odunsi (the Engine)’s “body count”. Merely teasing imminent releases ever since, listeners are thirsty for more DETO BLACK, so learning of this TECHDRILL’ feature will no doubt be sufficient enough music to fans’ ears.

“I worked with DETO [BLACK] because, Jesus, she’s too mad, too fucking mad! I just fuck with how she raps.”

Though listeners have only heard her on the one track, DETO BLACK has already made a name for herself within the industry, with insiders who have had the good fortune of hearing her product, raving about its quality. Whilst she’s not quite at $50k for a verse with no album out, a 16 from DETO BLACK is very much a valued commodity, but that doesn’t mean the benevolent bad bitch is stingy with her bars – she’s more than happy to dish them out on a track that deserves it.

“[Seki] just sent me a DM and was like ‘I need you on this’ and I was like bet! The verse came to me really quick cause his bit was already so fire and inspiring.

I’m super excited for ‘TECHDRILL’. Seki is an amazing artist and I think this project is really gonna show how cool and diverse he is. Everything I’ve heard so far is a hit, so yeah, I’m so happy to be a part of it.”

3. ‘TECHDRILL’ also features…

dndSection, Genio, Ugly Moss, JELEEL!, of course Cruel Santino, and the list goes on. On the production front, 1takennando, Genio again, GMK, Higo and Le Mav all play a role on the lengthy project. ‘TECHDRILL’ is essentially a roll call of all our favourite extra-mainstream stars, from the newly emerging rappers right through to the grammy-nominated producers.

“A lot of my inspiration comes from my love of my friends and women I’ve made connections with… and also my obsession with loyalty”

In the imaginative mind of Seki, everyone he meets is a character – anime, of course – and he literally envisions as either super heroes or Super Villains, like himself. Through the lockdown period, enforced rather strictly in Dubai, Seki was denied access to the movie that is his everyday life, so was forced into his mind to create a movie of his own, the soundtrack for which is the forthcoming TECHDRILL’.

4. We’ve heard teasers and we are sold

Back in April, when the leader of the cult(ure), Cruel Santino, finally resurfaced over an Instagram Live after months in hiding, he shared a brief snippet of one of his favourite songs off the SuperVillain’s tape. Then again, on the second instalment of her No Signal radio show, ‘Welcome to Chaos’, DJ Femo also played some TECHDRILL exclusives. As myself and all the Santi fans and radio junkies in attendance of both or either listenings are qualified to testify: TECHDRILL is good.

5. It’s a pandemic baby

Music, like films, TV and books, has been one of the few constants offering us stability during these #unprecedentedtimes. As listeners, we’ve turned to our favourite artists to help us keep the faith, and for musicians, Seki in this instance, the appeal of creating music during this time lies in its cathartic essence, as through this expression he’s been able to work out the confusing feelings and isolated thoughts he’s endured whilst locked down.

“It was one of the hardest periods of my life – mentally, physically – [but] the outcome was positive”

Coming to life after the lockdown was instated in Dubai, apocalyptic fantasies of “the end of time” played a huge role in the making of TECHDRILL’. Influenced by the Drill tendencies that are now dominating UK charts, as well as trap and techno music, ‘TECHDRILL’ melds “a mixture of techno drill, rockdrill , techno trap, rock alone” into an orchestral universe where the end of the world is celebrated with molly raves and indifference.

Dubbing his new sound “MOLLY MUSIQ”, TECHDRILL’ was only ever meant to be one song, but now Seki finds himself struggling to trim down his tape from a whopping 30 tracks in time for a Q4 release. Thankfully, if the rumours are true, we won’t have to wait too long to hear the first snippet of the Super Villain’s TECHDRILL universe. Slated for an early August release, “Like The Wind” should tell you all you need to know about why we’re on the edge of our seats for this one. You don’t have to take our word for it.


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


ICYMI: CHUKA “OTTO” OKONJO: THE WHO, THE WHAT, THE WHEN WHERE & WHY

Tems gives us a peek into her creative process on new mini-doc, “Finding Peace in the Noise”

In just about two years of breaking out, and with just a handful of singles and features to her voice, Tems has proven herself to be a truly special talent. In addition to show-stopping features on Odunsi’s “Decided”, Khalid’s “Know Your Worth” and DRB’s “Trouble”, Tems’ only solo release this year has been the soothing “These Days”. While the spaced-out tempo of her musical releases is now characteristic for the singer, we’ve now come to learn that it’s in fact a by-product of her meticulous approach to making music exactly how she wants.

Offering us a peek into her creative process, Tems has just shared “Finding Peace in the Noise”, a new mini-doc in partnership with YouTube Music. In less than three minutes, Tems expatiates on the importance of being in the moment while creating music, noting that tuning out the draining news cycle helps in maintaining focus and ensuring the energy that goes into the music is pure and untainted. “When I’m in the studio or when I’m in a creative zone, my mind has be 100% there, taking things moment for moment, hour for hour. Otherwise, I get stuck” she says in the voiceover that accompanies visuals of her working in the studio.

“Finding Peace in the Noise” emphasises the attention and care Tems puts into her music, briefly but profoundly letting us into her frustrations while creating, as well as her constant determination to make sure she’s putting her best foot forward each time a new song or feature goes live. The mini-doc is a reminder that, even though there’s a lot of anticipation for her debut project, Tems won’t be rushed, but we can be rest assured that whatever she comes up with is representative of her and is of the quality possible.

Watch “Finding Peace in the Noise” here.

Featured Image Credits: YouTube/Tems


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


ICYMI: Tidal is now available for use in Nigeria

AV CLUB: ‘BOTTEGA VENETA: MEN’ explores gender boundaries in society

This year has been one of deep collective reflection and brewing revolution for the entire world. As the maltreatment of black people – particularly black women – across the globe, has inspired a wave of political action, so too, has the COVID-19 pandemic forced us to reconsider and reconfigure our status quo. Though there have been many revolutionaries past preaching that the current system is simply not sustainable, it has unfortunately taken the global outbreak to force the people at the top of the food chain to give the system its much-needed reboot. 

As MOWALOLA and Odunsi The Engine briefly discussed in our TIME Issue cover story, the fashion industry is experiencing its own shake-up, finally catching up to the standards set by the likes of our 004 cover star. In 2017, following in the footsteps of Burberry (they most likely were inspired by younger, smaller brands) a plethora of fashion houses made the decision to cut back on the number of runway shows they scheduled and to also merge their menswear and womenswear collections. The Italian born Bottega Veneta being amongst the fleet. 

Though we still see gendered shows, men and women strutting down the same catwalk is not as rare a sight as it was even just five years ago, which is a huge step in the non-binary direction for the fashion industry. However, with menswear and womenswear labels still proliferating, issues surrounding why gender even still has a place within fashion persists; and that’s the question Bottega Veneta are posing to their clique of multidisciplinary artists in their new short film, MEN

Featuring a multitude of British creatives, including Nigerian-native Obongjayar, Octavian, Italian dancer Roberto Bolle and producer/songwriter, Tricky, BOTTEGA VENETA: MEN explores the existence of gender boundaries in society, the rules by which we are taught to abide and how these constructs are propagated in fashion. Specifically, through the lens of masculinity, these Men, joined by Neneh Cherry and a young boy Roman, investigate how their identities are expressed through clothes. Speaking about his struggles with cultural assimilation when he first arrived in England from Nigeria, Obongjayar confesses that he was initially lost in himself. Suggesting that finding himself was also reflexive in finding his own personal style, Obongjayar encourages viewers to do the same, by “like finding out what your thing is and then doing it”. 

Irish actor, Barry Keoghan tells a similar story of expression through clothing, describing his job of playing different characters with different styles as “somewhere where you can put your pain into, [and] escape from your own reality”, later asserting that vulnerability is the best way to be a man. Meanwhile for Octavian, the non-conformism and progressiveness of fashion is what he considers most important. Revealing his several tattoos, the UK rapper also discusses the bond people with similar style share, a bond that is fortified through other shared interests such as music. 

From Britain’s 1970’s Glam Rock wave, to New York’s culture-defining hip-hop movement, music has always been a keen influence on popular fashion and trends, recognises Tricky, and British dancer, Michael Clark, who was very much inspired by punk in his style growing up. Clark – who was told by his ballet teachers that his dressing would be a hindrance to him – found comfort in seeing the defiant dressing proudly rocked by the punk crew. Inspired by their provocative style, it was through punk that Michael Clark realised the value of dressing and being different – something his teachers had failed to appreciate. 

In Nigeria, fashion has always been a polarising topic, especially when it pertains to what our musicians wear. From fans’ fixation with Simi’s performance outfits – sometimes seemingly taking the attention over her actual performances for some –  to faux concern directed at Odunsi’s Twitter media, it cannot be denied that we consider fashion to be a definitive expression of a person’s inner mind. Similarly, we cannot underestimate how our relating to that musician, and their music, influences fashion trends adopted by the listening (and watching) public. It is no coincidence that streetwear has seen a meteoric rise in Nigeria alongside the growth of the Alté music scene. From VIVENDII and WAFFLESNCREAM, to Off-White and Daily Paper, the brands associated with the scene’s favourite acts have risen to increased prominence. It’s the same reason that gargantuan brands such as Nike retain close ties to the music community through support and collaborations, leading to them becoming one of the foremost sought after sportswear brands on the continent. 

Exclusively screening on MUBI – a curated streaming platform that hosts an ever-changing collection of films – BOTTEGA VENETA: MEN is available until August 6 can be streamed in the 190 countries MUBI services. Directed by Tyrone Lebon in collaboration with Daniel Lee, the Central Saint Martins alum who now heads Bottega Veneta (appointed Creative Director in 2018), BOTTEGA VENETA: MEN is a thought-provoking exploration into gendered attributes of fashion. Though it never concludes that menswear shouldn’t exist, the testimonies from the creatives who share their voices are clear: these binaries need to go.

Watch the BOTTEGA VENETA: MEN short film here

Image Credits/Bottega Veneta


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


ICYMI: A FEW THINGS YOU CAN DO TO HELP DISMANTLE GENDER-BASED VIOLENCE AROUND YOU

Songs of the Day: new music from NSG, Korede Bello, Psycho YP, Gogowé and more

The past few months have been difficult to go through. An ongoing pandemic has forced us to significantly curtail movements and social interactions, at the same time fighting injustices on multiple fronts. Luckily, the one palliative we can rely on is the continued and diverse stream of music that has continued to grace ears all over the continent. In a bid to brighten your mood with the finest African tunes, we’ve looked around to bring you four of the best records at the moment – songs you absolutely need to hear.

Our weekend selection featured new releases from Tolani and Sigag Lauren, as well as DJ Spinall’s, Kranium-assisted single, Kida Kudz’s collaboration with Falz and Joey B, Psycho YP’s riveting new freestyle and much more. To start off the new week, get into these new releases from Korede Bello, Tiwa Savage, Gogowe, Psycho YP, and many more from around the continent. Enjoy.

NSG – “Lupita”

Following the successful release of their debut project ‘ROOTS’ last month, the 6-man music collective from London, NSG are now releasing fitting video treatments for fan favourite singles off the project starting with the 4Play-produced number “Lupita”. With a major emphasis on the song’s theme of black love and black women, the Kevin Hudson-directed video showcases beautiful black women as they enjoy an outdoor summer party with the group, featuring cameos from some of our fave women such as London-based singer Tomi Agape to Youtuber, Nella Rose and Priscilla Anyabu from Love Island 2020.

Tiwa Savage – “Dangerous Love (Ampiano Remix)”

Tiwa Savage is back with the Ampiano-inspired remix to her latest single “Dangerous Love” and if you thought the song couldn’t get any better, then you’re definitely in for a treat. Where most remixes would just include a new verse added along to the original song, the Ampiano remix produced by Dj Ganyani and De Mogul gives off a completely new feel, save for the infectious and familiar hook. ‘Make me feel like the first time/ You’ve been giving me a different vibe’ she sings, against the bouncy new beat which will have you bopping your head through the entire 5 minute run-time.

Korede Bello – “Table for Two”

Mavin’s Korede Bello is back with a new project titled ‘Table for Two’, released three years after his previous project ‘Belloved’. After catching our attention with pre-released singles “Sun Momi” and “Mi Casa”, which became one of the most used songs on Tiktok, the 5-track project is finally here. Korede Bello stays true to his signature loverboy persona, and it’s on the title track “Table for Two” that he really shines the most. ‘There’s nobody like you/I would do anything you say make I do’ he sings amorously, declaring his undying affection for a love interest who he is committed to despite there being 8 billion other people in the world.

Psycho YP & DJT1Z – “FOOLiSH (OUTSTANDiNG DiNNER)

If there’s one thing about Psycho YP, he definitely works hard. Every other week, he has a new feature or freestyle out, constantly keeping the streets feed with his off-the-cuff raps and it’s why we love him so much.

After wowing us with a new freestyle last Friday, the talented rapper is back with a new video for his single with DJT1Z “FOOLiSH (OUTSTANDiNG DiNNER)”. In the new video by untitled productions, Psycho YP delivers his braggadocious raps in a dark room, as he is egged on by his posse. The sinister air of the room along with his sharp-tongued raps adds to the seriousness of the song, and to the unfortunate person he’s addressing: ‘Pay Up [and ]Don’t be Foolish’.

Gogowé – “Gentle Girl”

As far as millennials and Gen Zers go, this generation of Nigerian women are fiercely independent and unafraid to say what they want regardless of what society says. To commemorate her birthday, singer/songwriter Gogowé has just released a new single titled “Gentle Girl” which sees her distancing herself from the ‘gentle’ tag and establishing herself as a far cry from the decent ‘lady’ society wishes to make of women.

‘I’m not that kind of angel/Me I get e temper/And I dey live my life’ she sings enthusiastically to a love interest, as she reaffirms that she is unwilling to conform to social standards of how a woman should act. Gone are the days of constricting personas, a woman can be whatever she wants to be so get with it, or move out the way.

Fasina and Tim Lyre – “88 Bpm”

After sharing their latest single “Just Linked” featuring MOJO and LK a few weeks back, rapper/singer Fasina and rapper/producer, Tim Lyre are back with a new 3-track project titled ‘3 Strains’. The project which draws inspiration from their marijuana-induced studio sessions is a fun, bouncy offering to kickstart your week, starting with the opener “88 Bpm”.

‘Cali in the kush, this ain’t for lightweight son/Get the fuck out of my way, you’re in my way mate’ raps Fasina in short, flashy sentences as he adopts jaded detachment in his tone. He’s joined by Tim Lyre who raps, ‘I go ballistic/check that statistic’ as he raps about his talented ability to lay down a beat and also rap circles around it. This is exactly the kinetic bundle of oomph needed to convince you to visit their 3-track offering.

OluwaJBeats – “Owner” featuring Ade Josh, Charlie Mase & Keys the Prince

As far as things go, this year’s summer is pretty much cancelled and the phrase “all dressed up with nowhere to go” is especially relevant but while we’re all spending more time indoors than ever before, we’re constantly entertained by the slew of new music coming out. Afroswing producer, OluwaJBeats knows this all too well as he taps into the sounds of Ade Josh, Charlie Mase, and Keys the Prince for a new amped-up party jam titled “Owner” that’s uniquely primed for DJ sets and air plays.

Directed by Scilla Owusu, the video for “Owner” sees all three artists rolling up to an all-white mansion, which we find out is owned by a group of female friends. They deliver their verses while having fun out at the party hosted by the girls. Speaking about the video, Scilla shared that it was important to depict the women as homeowners, as they are oftentimes represented as extras in music videos when that is not always the case.

 

Featured image credits/Instagram 


Tami is uninterested in what you have to say. Don’t tweet at her @tamimak_


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

Best New Music: The Cavemen serve futuristic highlife on “Anita”

In music—African music, to be more specific—the past always serves as a veritable source of inspiration for the present. Whether it’s Odunsi revamping Nigerian disco-funk from the ‘80s, or Worlasi taking sonic and spiritual cues from Ghanaian ‘60s & ‘70s folk for his last album, ‘Worla (the Man & the God)’, or Amapiano repurposing the distinct percussive elements of Bacardi folk, a significant portion of contemporary African music clearly has strong ties to past styles of music that defined previous eras.

Projecting vivid influences from Igbo highlife of the ‘50s & ‘60s, the Cavemen, made up of bassist Kingsley Okorie and drummer Benjamin James, have embraced a nostalgia-inspired narrative and approach to their music. Last year, the sibling duo shot into a higher level of visibility following integral contributions to Lady Donli’s excellent debut album, ‘Enjoy Your Life’, and their cult classic debut single, “Osondu”. Those releases showed how they used older inspirations as the framing device for their unique agenda: “We’re bringing vintage highlife back, but we’re also adding our elements to it—we’re making highlife futuristic,” the pair explained to us a while back.

“Anita”, the latest single in the lead up to their upcoming debut LP, ‘ROOTS’, consolidates on the Cavemen’s dedication to be much more than revivalists. In trademark fashion, the nod to vintage highlife is clear, but what makes the song truly special is that it sounds concurrently of-the-moment and instantly timeless.

https://www.instagram.com/p/CCk6JcODG3n/

While their style of music is considerably niche within the framework of modern Afropop, the Cavemen generally make music that’s really accessible and downright enjoyable. On “Anita”, though, they ramp things up a bit on the visceral side, putting together their own version of a club-ready song. The rustic elements and tight musicianship that accompanied previously released songs remain a fixture, with knotty guitar motifs, jangling shekere riffs and sizzling drum rolls combining to form the wickedly groovy sonic backbone. The catchy part comes with the chorus-driven song structure, filled with easily memorable lyrics and irresistible melodies.

“Anita eh, you go killi somebody”, Benjamin hysterically howls in his helium-pitched voice, singing a familiar version of words we’ve heard so many times in afropop, but he channels those sentiments in a way that borders on true devotion to the song’s titular character. Where previous singles saw them ceding space in front of the mic to one another, Kingsley delivers backing yet prominent vocals on “Anita”, adding a higher level of synergy to what we’re used to hearing from the Cavemen.

It’s difficult to tell if this is the Cavemen at their absolute best, since they seem to set the bar higher for themselves with each new song—‘ROOTS’ will be ideal gauge for that. But for what it is, “Anita” is a near impeccable song that underlines the Cavemen’s uniqueness, as well as the endless possibilities of their chosen sound.

Listen to “Anita” here.

Featured Image Credits: Instagram/the.cavemen

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


BEST NEW MUSIC: FOREVATIRED & SOLIS TEAM UP ON NOSTALGIC SINGLE, “FILM TRICK”

Listen to Reminisce’s latest single, ‘Ogaranya’ featuring Fireboy

Gearing up for the release of his forthcoming EP, ‘Vibes & Insha Allah’  – which arrives on Wednesday – Reminisce kicked off the proceedings in the early hours of Sunday morning, releasing the Fireboy-assisted, Sarz-produced, “Ogaranya”.

Judiciously following the instruction to “light e” (light it up), Fireboy takes the first step onto Sarz’s simple, yet effective production, entering the beat drop with some pretty braggadocio proclamations that “there’s nobody like me, there’s nobody like me, they call me Ogaranya”. An Ibo locution to indicate the rich, Reminisce is similarly as moneyed up through his verse, rapping about his generosity before leading into a sung pre-chorus where he describes his wealthy status as the perfect match for a well-endowed figured woman who’s caught his attention.

Stalked by Fireboy’s adlibs throughout his takes, Reminisce’s materialistic verses live up to the strong standard we’ve come to expect of the rapper. With clever lyricism, timeless references and a tasteful flow, if “Ogaranya” is any indication of what the EP will sound like, Reminisce has got Wednesday’s release in the bag.

Providing the up-beat groove that sets the tone for the entire record, Sarz production calls for the singer and rapper to take command of the song. It’s not difficult for a Sarz-produced beat to claim the spotlight on a song, but on “Ogaranya” everyone shines in equal measure. Regardless, Sarz doesn’t resist the urge to show off entirely, as he mixes and manipulates the vocals to create a catchy slew of gibberish on the song’s outro.

Listen to “Ogaranya” below, and pre-order Vibes & Insha Allah’ here.

 


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


ICYMI: GEMS: A LIST OF THE BEST SONGS RELEASED THIS WEEK

Tidal is now available for use in Nigeria

Compared to most of the world, Nigeria is still some steps behind in the adoption of streaming as the primary means of streaming consumption, however, there’s a strong potential for upward growth. According to PwC South Africa, music streaming in Nigeria is expected to grow to 1.8billion gigabytes and about $18million in revenue by 2023, compared to 107million gigabytes and $3.3million in revenue. This sort of prediction, coupled with the sheer popularity of Nigerian music/artists within the frame of African music, is enough incentive for more streaming platforms to offer its services (and even set up shop) in the country.

Tidal seems to be catching on and has now become the latest streaming platform to offer the full range of its services in Nigeria. The audio-visual streaming platform, which was launched in 2014 by Norwegian public company, Aspiro and is now co-owned by JAY-Z, offers a wide range of content services including high-fidelity audio streaming, high-definition music videos, podcasts, exclusive live performance content and special features on music.

Being a subscription-based platform, Tidal only currently offers paid options, although it has an initial 30-day free trial period until monthly payments start getting deducted. The service offers premium and HiFi tiers, with the main distinction being that the latter offers CD-quality audio in its purest form, giving listeners the option to listen to music the way artists intended for their content to be heard. In Nigeria, the premium tier goes for $2.33 (currently #902.88) per month, while the family plan which accommodates up to 5 people goes for $4 (#1,550) per month. The HiFi tier goes for $4.67 (#1,809.62) per month, while the family plan goes for $7 (#2,712.50).

With a subscription to Tidal, users get access to a catalogue of over 60million songs, curated music and video playlists, semi-exclusive podcasts/shows like Rap Radar, Drink Champs and Car Test with Elliott Wilson, movies/documentaries, live performances and movies. Nigeria is the third African country with access to Tidal’s services, following the platform’s launch in South Africa and Uganda back in 2018. Tidal is now available on Google and Apple stores for android and iOS respectively.

Featured Image Credits: Web

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


ICYMI: THE POTENTIAL SIGNIFICANCE OF AUDIOMACK’S PRESENCE IN NIGERIA

GEMS: A list of the best songs released this week

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


234jaydaa – “23”

234jaydaa steps into new waters with her latest winsome single. A testimonial to her Lagos home and the city’s notoriously happening population, “23” features 234jaydaa’s familiarly soft sirenic voice over an unfamiliar (for the singer) percussive pattern, on an otherwise symphonic DJ Lolu beat. While the first stanza pays attention to the tropical climate of her home town, through its second stanza, “23” embodies the creativity and unrelenting pursuit of the Lagos people jaydaa herself lauds on verse, as she briefly forays into rapping with the bars: “I say rise and shine/they say rise and grind/for no man waits time/the brilliance of the lime”.

Since she is a poet before anything else, jaydaa’s lyrics are, as usual, just as mesmeric as her standout vocals, particularly towards the record’s end, where her siren wails accompany the second chorus and trail into her harmonising on the bridge: “the sun has set and with it the colours fade/slaves to the moon, I bask in your silver shade”. In a league of her own, 234jaydaa is further exploring the island upon which she mines her talent on this new single, and it’s a hit! Luring us further into 234jaydaa fandom, the delectable “23” leaves us bewitched on the self-proclaimed siren’s enchanted shores, pining for more.

SGaWD – “Feel Right” (feat. Mafeni & DOZ)

How do you know when you’re in love?” Rapper/singer SGaWD asked her growing fan base that question ahead of the release of her first official single of the year “Feel Right” featuring rapper, Mafeni. The massive response from her fans resulted in the culmination of a home-made video of listeners from all around the world describing the universal feeling of love and affection. SGaWD may be fairly new in the game, but she already knows all the right ingredients to establish herself as an artist with a loyal following in the game.

Hanging up the sharp, clear raps we heard in“Whorephobia”, SGaWD adopts a more mellow, soulful tone on “Feel Right”, where she examines the vulnerability it takes to commit fully in romantic relationships. Over DOZ’s jazzy production, she sings, “I’ve been wronged before never took a minute to assess it but I know how I feel”, musing over a past relationship where she had to confront a partner with unrequited feelings. She’s joined by Mafeni on the second verse who raps, Hardly let people, I’m usually kicking them out”, admitting the walls he’s had to put up to guard himself from the game called love. Like Drake once accurately summed up, We live in a generation of, not being in love, and not being together”— it’s a sentiment that is perfectly captured by SGaWD and Mafeni on “Feel Right”.

Sampa The Great – “Time’s Up” (feat. Krown)

After a relatively quiet start to the year, Zambian-born, Melbourne-based MC Sampa the Great is back with a new video for her single “Time’s Up”, which first featured on her 2019 album ‘The Return’. “Time’s Up” is a song which finds new relevance amidst the ongoing chaos, as it sees the talented rapper chucking up a bold middle finger to the music industry about its racist ways, that seek to exploit and capitalise on Black artists and their art.

In today’s climate where there’s been a global soul-searching to tackle the racial inequalities that still haunt every sector of our society, Sampa The Great’s message is particularly important in reminding us that – although the uprisings may have calmed down – the battle is far from over. The video which was directed by Sanjay De Silva draws inspiration from the experimental hip-hop music videos of the ’90s with its use of wide-angle lens production. It stays true to the anti-establishment theme of the song (“I seen the industry kill the dream of a dreamer”) as the video closes with the solidarity of black creatives in the industry, reminding us that in order to break these cycles we must create our own damn table.

Kida Kudz – “Buga” Feat. Falz, Joey B

On his path to becoming a key figure in the UK rap community, Kida Kudz made sure to infuse his African traditions with his rap music influences, inventing a sound he terms Afroswank, and helping to further establish Afropop as a veritable and popular sound in the UK. He released his debut project, ‘Nasty’, earlier this year, where he showcased the range of his unorthodox approach to making music. Continuing in that line, he’s linked up with Nigerian rapper Falz and Ghana’s Joey B for his new, Fuji-inspired single, “Buga”.

With the help of expert production from Bad the Sound Boy, “Buga” keeps up Kida Kudz’s knack for singing over dance floor serving grooves. The bouncy rhythm of Afropop drum riffs, percussion and synth samples set up Kida Kudz’s melodic vocals, while his lyrics can focus on stunting on his enemies; “Who dem be? I got enemies but mama don pray”. Falz takes a cue from the Kida Kudz’s self-assured lyrics to deliver a stern but humoured second verse, before Joey B closes the song with a more romance-fueled verse. The result is a confidence-inspiring masterpiece, which highlights the different themes that define dance floors in Africa – romance, cocksure brags and humour. With the infectious melodies, instrumentals and the braggadocios lyrics, “Buga” is a warm and rousing song that’s equal parts bad boys and feel good.

Adé Lasodé – “Scars”

Adé Lasodé has put out more music since the pandemic started than she has since her 2018 debut, “Crave”. She’s always had a DIY approach to recording music, but self-isolating has clearly put her in a more productive place, seeing as she just released her fourth single of the year, “Scars”, a gracefully emotive song about the pain she’s experienced in love.

The self-produced “Scars” opens with brooding guitar harmonies, which form the instrumental scaffold for the melancholic set where she describes her struggle with love; “My mind craved love but my heart felt rust”. “The song was inspired by the guitar chords”, Ade tells us of the song via text. “After that, the words just followed. It was important for me to make this song because of the repressed emotions that seemed to surface, that I needed to express and let go of.” The video for “Scars” adds to the already compelling song, as we see moving portraits of her desire and determination to come out from under those depressing feelings.

Jarreau Vandal x Tay Iwar – “Single Complexities”

One of Tay Iwar’s many superpowers is his ability to detail just how messy and difficult it can be to navigate modern relationships. On his cult classic debut LP, ‘Gemini’, the singer examined the often impermanent nature of romantic bonds, with respect to the indelible memories and the long lasting effects those encounters leave behind on our personal perspective of intimacy in general. On “Single Complexities”, Tay’s feature on the new album from Soulection producer/singer Jarreau Vandal, Tay continues to operate within the same territory, albeit with some looseness to the narrative he portrays.

While emotive singing and an ability to hone in on the most essential parts of his stories gives Tay’s songs their riveting edge, there’s always the dour representation of love as an elusive concept. For “Single Complexities”, Tay comes across as a deeply wounded lover, but he indulges in the madness rather than opting to reach for a logical conclusion. “Play with my sanity, can’t cut you off like vasectomy/the universe must be testing me, is it love is it chemistry/either way I need your energy”, he sings with a mix of giddiness and mournfulness, resigning himself to the complexities of being in love with a potentially wrong person, instead of simply walking away.

Practically speaking, it might not be the best decision to stay, but Tay mirrors the real life unpredictability of romantic emotions and leaves enough room for redemption. Driven by Jarreau’s delightful, funk-lite production, “Single Complexities” not only delivers a compelling narrative that will have you ruminating, it’s also a catchy and well-crafted song that will have your shoulders rolling.

Pop Boys & Hvrry x Psycho YP – “Done Did It”

With his never ending stream of guest appearances, Pyscho YP’s prolific streak serves as a vessel for asserting and constantly fine-tuning his versatility. On “Done Did It”, which was released earlier this week and still isn’t even his latest feature, he teams up with producers Pop Boys and Hvrry to rap over one of the more unorthodox beats he’s ever graced, finding a unique pocket and sounding damn near impeccable all through.

Over a frenzied mash of Spanish guitars, horn riffs, ticking hi-hats and occasional bass drops, YP runs through a stream of consciousness that touches on multiple things: his willingness to max out his credit card for a love interest, thanking God for life and how easy it would be to steal your girl — you know, typical YP things. Throughout the 2-minute run of “Done Did It”, YP puts in a commanding shift, still sounding as playful as ever.

Forevatired – “WEST”

“If she kills me with her thighs, tell the jury I don’t mind”, Golddrummachine sings in a high-pitched falsetto at the beginning of “WEST”, the intro track to the excellent new Forevatired project, ‘Those Kids Next Door’. On a project packed to the ears with phenomenal highlights, Golddrummachine sets the tone with those striking lyrics, singing of his raunchy desires in a way that conveys admiration and outright devotion.

Those yearnings are scored by a shiny, synth pop-infused beat, heightening the explicit and profound nature of Golddrum’s sentiments. Mid-way through, “WEST” transforms into an ambient coda where he requests reciprocity, chanting, “Can I be your lover, girl? Undercover lover, girl”. The kicker comes in the end when he’s rejected: “She said you ain’t got no game, such a damn shame”. For a song that serves as a reminder that we all need to jazz it up, “WEST” is utterly beautiful in its sheer execution and how it cherishes infatuation despite the eventual outcome.

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IMPORTANT READ: WE NEED TO TALK ABOUT AFROBEATS

How the case of D’banj’s assault accusation was concluded

Trigger Warning: This Article Contains Disturbing Details Of Sexual Assault And Rape.

The month of June was an incredibly harrowing one, as news of sexual and gender based crimes against women populated the Nigerian media. The cases of Uwavera Omozuwa, Barakat Bello, Jennifer, Ada and Elizabeth Ochanya Ogbanje ignited a broader conversation on the proliferation of rape in society. As we were petitioning for justice for Uwa, Bakarat, Jennifer, Ada, Elizabeth and all the innocent women and young girls who are abused, and in some cases killed, Nigerian women became empowered to seek justice for themselves also, sharing stories of their own experiences with sexual assault. A brave Seyitan Babatayo was amongst these women, accusing popular musician D’Banj, in now deleted tweets, of rape, and demanding he issue a public apology to her for his crimes.

On June 16, following her accusations of D’Banj via Twitter, it was reported that Seyitan Babatayo had been apprehended by the police and was being held in custody on charges of defamation. Following public outrage from Nigerians, with the help of  the Stand End To Rape (STER) initiative, Seyitan Babatayo was released the following day, as confirmed by STER’s founder Ayodeji Osowobi. On the same July 17, the Inspector General of Lagos’ Police Force, Mohammed Adamu ordered a probe into the allegations made against D’Banj, however no news has come of that since.

In the month past, Seyitan has herself taken legal action against D’Banj, with the continuing support of STER, legal representation from Mrs. Akeredolu (SAN), and the help of Social Intervention Advocacy Foundation Founder, Mr Segun Awosanya, who mediated between the victim and the accused.

Today, in statements released to Twitter, both Seyitan Babatayo and the Stand To End Rape initiative have confirmed the conclusion of Seyitan’s  case against D’Banj, in what STER report to be “a private non-monetary agreement”. Find both statements below.

Read STER’s full statement:

Seyitan’s statement follows STERs, and seeks to thank the NGO for their support whilst also clarifying the series of events involving a Mr Segun Awosanya. Read here:

Adire: Keeper of Yoruba Culture

Written by Adeiyewunmi Osinubi

Ade Osinubi is a Nigerian/American medical student who complements her degree with a budding career in photography, videography and adire textile artistry. Educating others about the Yoruba art form – which she posits is at risk of extinction – Osinubi shares the story of how she became an adire artist in the US, initially for a school project, but now as a craft she will hold on to for life. 


When my mother first handed me adire fabric to wear to yet another Nigerian event, I looked at the indigo and white hues with minor disgust. As a first generation American whose parents immigrated from Nigeria in the ’90s, I had barely become comfortable with sporting colourful ankara wax fabrics in public. This new and uncharted fabric had a tie-dye adjacent look – an aesthetic I left behind in Kindergarten. Little did I know that nearly two decades later, I would develop such an appreciation for this peculiar and perplexing fabric.

Ade Osinubi, Self Portraits

Adire translates to “tie and dyed” in my parent’s native tongue of Yoruba. It is fabric designed with resist-dye patterns and primarily indigo dye, though green, brown, and red stains are also used to create varied hues. While adire is mainly used for clothing purposes, it’s not just fabric or a fashion statement – it’s an art form. Within its intricate designs, adire carries the richness of the Yoruba culture.

It’s a story that dates back to the late 20th century, emerging from Abeokuta, a city which inhabits the southwestern region of Nigeria. Through the course of history, Yoruba women artisans have used various methods to achieve the varied designs. To perform the adire Oniko technique, artisans tie the leaves of the native African palm tree, raffia palm around corn kernels and pebbles to create tiny circles on the textiles. Adire Alabere is achieved by intricately stitching raffia to make patterns in the fabric. Once dyed, the stitches are removed, leaving a unique design. For Adire Eleko, artists paint symbols and designs with a paste made out of cassava flour onto the fabric to resist the dye.

As well as being an art form, adire is a storyteller. Like the patchwork quilts of the Underground Railroad, the imagery on adire textiles unearth stories of life and endurance, narrated by the women left out of our history books. As a photographer, videographer, and mixed media artist myself, it is only natural that I would be so drawn to adire – for we both share the same passion for storytelling.

Ade Osinubi, Self Portraits

Like many sacred and cultural art forms, adire is nearing extinction. With Yorubas moving abroad and adire becoming less and less popular to wear, the lineage of those who possess textile making skills shortens. During my senior year of undergrad, I embarked on a project entitled “Adire: Keeper of Yoruba Culture” where I learned how to design the textiles myself. With the help of Youtube, Blick, and a very supportive art professor, I successfully completed three adire textiles. My pieces utilised the Alabere and Eleko techniques – with a few modifications: Raffia palm was replaced with convenience store needle and thread and traditional cassava paste was swapped with liquefied wax. With the wax, for my own expedition into adire storytelling, I painted designs reflecting Nigerian and Black American symbols of quotidian life and resistance. Using needle and thread, I sewed shapes and bound pieces of fabric to create designs.

On the third floor of a concrete art building in Providence, Rhode Island, I was able to bring to life an art form that originated over 5,000 miles away. My finished products did not exactly mirror what the skilled artisans of Abeokuta fashion – the edges of the textiles were not as uniform as they could have been, the indigo dye did not take in some places of the fabric – but perfection, at such an early stage, was never my ambition. The textiles, for me, represent an ongoing process of merging my Nigerian and American identities – imperfect, sometimes messy, but wholly me.

Adire: Keeper of Yoruba Culture Exhibit, David Winton-Bell Gallery

To accompany my textiles, I also presented a short documentary film of my process in order educate my viewers on the art form of Adire. Watch below:

All Image Credits/Adeiyewunmi Osinubi


ICYMI: A COCKTAIL OF VIOLENCE: SOUTHERN KADUNA IS MORE THAN A HASHTAG

We spoke to a few people about finding their faith during a pandemic

It’s been four months into the coronavirus-induced lockdowns and the world has become a completely different place to what we knew it to be at the beginning of the year. The ‘Rona – and literally everything else that has transpired since she came around, has come with some heightened feelings – and everybody is living in fear and anxiety about this new normal we all have to navigate. The symptoms of society’s ills have been brought to the forefront, and we’re now in a phase where we’re demanding a cure, which some have turned to their faith for.

As someone who is not deeply religious, the last couple of months have been particularly difficult to navigate, especially considering the cocktail of negative emotions that have come with the times. Living with religious Nigerian parents also doesn’t help with the anxiety towards the uncertainty, and if yours are anything like mine, you’re getting constant reminders that there are evil forces at work who are responsible for the calamitous year we’re having.

While religion is still an uncertain ground for me, I have found myself praying more and trying to find a stronger spiritual connection, rather than through religious bodies and institutions which don’t always align with one’s true values as a person. This decision to reconnect with my spirituality and the universe, I’ve found, is not uncommon in a number of my peers who in these times are clinging to something to find some grounding and to feel safe in uncertain times.

The last time we spoke to members of our community about their faith, we learnt that many people were coming to terms with the fact that they had lost the faith in religion they were raised on, coming from religious family backgrounds. As a generation, we’re not as rooted in the rigid religious structures older generations were raised on, and as such, have become more flexible with our choices and more open-minded to the way we practice religion.

This time around, given that things have become even bleaker over the past few months, we decided to touch base again with members of our community, to discuss their how their stance on religion had developed over time as many claim that the pandemic period has helped rebuild their relationship with God and the universe.

From finding God through music to finding an online meditation community, here are some of the ways some members of our community are finding and restoring their faith during these strange and unprecedented times:

My relationship with religion and God has always been present deep down, but I wasn’t very proactive about it. Sometimes I’d be in deep connection with God, other times I felt like I was just marking off an item on my to-do list.

The pandemic has been very overwhelming for me. It eventually caused me to disconnect from a lot of things, particularly Instagram. Re-finding myself and cancelling the “noise” around me has helped me refocus. The lack of noise also helps me have a stronger relationship with God and religion. I am able to have more reflection time with God.

S, Female.

My parents are like big on religion. My mother is a pastor and my dad is a Deacon. So you can see the kind of stress I am under! I grew up thinking God was unfair because I struggled to reconcile my sexuality with my religion and the Bible. I knew I wasn’t an atheist, but then Christianity wasn’t it for me. During the pandemic, my mental health grew worse so I would pray I’d start my prayers with “in Jesus name”, but then I’d go with “as the Universe pleases” in the middle.

Now, the guilt around my sexuality is basically gone and I’ve grown with my spirituality. I call myself a witch, and honestly, it’s been a good experience. My religion is – do what’s best, what’s good, and what makes you feel good. Love is the single most powerful thing out there, and that’s what I believe in 100%.

I.E, Female.

I didn’t grow up religious and my relationship with God has been shaky. It was  in secondary school I probably started to acknowledge God’s existence – I only prayed when I needed help with exams, hoping for some miracle. Years later, I tried to reconnect, to grab onto those peaceful moments but I could never get it back.

My reconnection with God actually started before the pandemic officially started because I’ve been in isolation since December. I had an eye infection. I couldn’t see well, my eyes were sensitive to light, so like I was practically indoors throughout the month. I reconnected at this point and rather than expect an immediate response from the big guy, I took it one day at a time and that’s how it’s been ever since.

A, Male.

I feel like God speaks to me through the music I listen to, and it feels like God is instructing me with a guideline for my life. When I listen to some songs, it puts things happening in my real life into perspective, and also gives me more comfort than normal when I’m feeling low. 

I’ve always thought that I had to communicate with God through prayer or some religious ritual, but hearing God in Future lyrics just made me curious to seek a deeper relationship because it seemed like He was seeking me out. This faith and trust has become stronger during this awful year, and I don’t think it’s a coincidence. As weird as it seems, I feel like it was supposed to happen this way.

F, Female.

I had always believed in God and gone to church, but it’s like I would be so passionate about things of God for a week and then I’ll get busy and totally forget. I decided to make a change in April when I suffered from depression, and I’ve never looked back since. I feel like because of lockdown, it made me realise that everything here on earth is temporary and I decided it was time for me to stop being lukewarm and actually take it seriously. I hopped on zoom calls and it really helped ’cause a lot of things I wasn’t sure about I got answers. I also started studying the bible more – devotionals and all. It’s been an amazing experience and I definitely will keep this going even after the pandemic.

C, Female.

My spirituality really deepened during this pandemic because I began to do that manifesting thing you always see on Twitter and I’m here to say it works. I had a jaded past with organised religion and completely went off it, to the annoyance of my mum but with manifestation, it’s basically prayer but without the gods and contradictory Bible verses. It’s really just actualising what is already yours as a child of God.

D, Male.

I had a very strange kind of mixed up religious upbringing. My parents are Muslims and they’re serious about it and I went to a Christian high school like proper Christian high school and just the mix of going to school and coming home to different things just made me very apathetic towards religion. I didn’t want to be affiliated with any particular religion. I recently realised that my conscious avoidance of religion turned to a subconscious avoidance of spirituality. This came in the lockdown and I had to remind myself as well that spirituality is not synonymous to religion.

O, Female.

My mum is a Muslim and my dad was a Christian so I used to jokingly identify as a Chrismus cause I hadn’t decided. So I would go to church on Sundays with my dad and I would fast during Ramadan and occasionally go to the mosque also with my mum. I’d pray whenever I needed something and that was about it. During this lockdown, I felt a pull to get closer to God and I spoke to my friend about it and she told me it’s probably God trying to pull me close. So I started a bible study with some of my other friends who kind of felt the same way. I can feel my relationship with God growing and I can feel Him guiding me towards my purpose just showing me things and I love it

A.O, Female.

If I’m to rate my relationship with God over 10, I’ll give it an 8 because to the best of my knowledge, I’ve maintained a good relationship and I’ve been in constant communication with him. I didn’t always have an unwavering relationship/ faith in God and sometimes, fear, worry and doubt used to be the biggest negative emotions I struggled with but during this pandemic, I got a better insight on some of the scriptures. I realized that there was literally nothing one could do at the time other than just depend on God to take control. I also understood that the pandemic happening wasn’t new and didn’t mean the end of the world which also meant that it was gonna pass, so that basically grew my faith in the word of God.

E, Female.

I’m not sure if this counts as spiritual or religious but this pandemic, I have really gotten into horoscopes. That is basically my new religion now because the similarities and comparisons with each sign are so true. Now I check my horoscope updates every morning, but that doesn’t mean it guides my whole life, it’s just fun to read a general overview of who you are and what makes you (and a billion other people) unique.

A, Male. 

Featured image credits/ChuchuOjekwe


Tami is uninterested in what you have to say. Don’t tweet at her @tamimak_


ICYMI: The art of using music as a form of prayer

Songs of the Day: New Music from DJ Spinall x Kranium, Kida Kudz, Sun-El Musician & more

The past few months have been difficult to go through. An ongoing pandemic has forced us to significantly curtail movements and social interactions, at the same time fighting injustices on multiple fronts. Luckily, the one palliative we can rely on is the continued and diverse stream of music that has continued to grace ears all over the continent. In a bid to brighten your mood with the finest African tunes, we’ve looked around to bring you four of the best records at the moment – songs you absolutely need to hear.

Our midweek selection featured new releases from Ade Lasode, Sarkodie and E-40, Shun Breezy and the African anthem of solidarity against Covid-19 by 2Baba, Amanda Black, Yemi Alade, Teni, Ahmed Soultan and more. To start off your weekend, today’s curation includes DJ Spinall’s, Kranium-assisted single, Kida Kudz’s collaboration with Falz and Joey B, Psycho YP’s riveting new freestyle and much more. Enjoy.

DJ Spinall x Kranium – “Everytime”

With four well-received studio albums under his belt, DJ Spinall has proven himself as a facilitator of great collaborative songs. While those songs involved linking producers and artists, Spinall has taken things up a notch by self-producing his recent releases, including the previously released, Omah Lay-assisted “Tonight”. He continues this streak with his new single, “Everytime”, a sultry bop with vocal assistance from Dancehall superstar Kranium. Continuing the lineage of Afropop and Caribbean pop mergers, the pair showcase great synergy on the song, with DJ Spinall cobbling a vibrant, mid-tempo afro-Caribbean groove together, while Kranium puts in a delightful performance that is coloured by his trademark style of sophisticated raunchiness.

Tolani – “Badman”

Tolani’s first single of the year, “Badman”, isn’t an anti-love anthem, but it will have you re-considering the point of getting into romantic entanglements because we are often drawn to people who aren’t the best for us. Over iilerixo’s bouncy production, Tolani examines her choices in partners, coming across as someone who, the streets would say, has refused to jazz up. “When he looks like trouble, that’s when I’m catching a buzz”, she sings on the second verse, voicing regret but also admitting the thrill of falling for a badman.

Sun-El Musician x Simmy x Khuzani – “Emoyeni”

With his frequent stream of new music releases, Sun-El Musician is clearly gearing up to release the follow-up to his 2018 debut album, ‘Africa to the World’. Following the late-May release of the Msaki-assisted “Ubomi Abumanga”, the South African producer/DJ has now dropped his third single of the year, “Emoyeni”, with vocal assists from Maskandi singer Khuzani and frequent collaborator Simmy. Leaning into his preference for soulful textures, Sun-El puts together an ambient combination of wafting keys, rippling piano synth riffs and gently rolling percussion, underpinning his guests’ zen-inducing vocals.

https://www.youtube.com/watch?v=Ay-zYKkV4JE

Focalistic x Emtee – “Klippa”

Over the past year, Focalistic has established himself as one of the more chameleonic rap artists in South African music, with his ability to hop on a variety of beats, from Amapiano to Trap to Afropop. In last three months, he’s dropped his debut project, ‘Quarantined Tarantino’, put out a 3-single pack, ‘Blecke’, and he has stellar multiple features on projects by Semi Tee and Kabza De Small. Continuing his prolific streak, he’s teamed up with SA rap veteran Emtee on “Klippa”, a boastful track where they trade brags over a stomping trap beat. Taking the first verse and hook duties, Focalistic raps about his come-up journey so far and his readiness to continue levelling up, while Emtee chips in a standard verse championing his hustler’s mind set.

Kida Kudz x Falz x Joey B – “Buga”

So much has been happening in the world that it feels like Kida Kudz’s debut mixtape, ‘Nasty’, has been out longer than its February release. True to his nature, though, Kida Kudz has remained prolific, releasing songs and hopping on features that serve as a solid reminder that he’s one of the more inventive artists fusing rap and afropop. On his new single, “Buga”, he links up with Nigerian rapper Falz and Ghanaian rapper Joey B for a self-assured, feel-good jam. Delivering the repetitive hook and the first verse, Kida sets the tone with his confident and playful delivery, Falz takes over on the second verse where he’s dismissive of those he considers opps, while Joey B closes out with pseudo-romantic lyrics on the third verse.

Psycho YP – “Rap Riddim (Freestyle)”

The common theme tying together his overflowing catalogue of projects and features is that, Psycho YP can pretty much rap over whatever and sound great at it. On his new loosie single, “Rap Riddim”, YP dips his toe into drill waters and he sounds as comfortable as ever. In less than 90 seconds, he wreaks havoc over Johnson IP and Cruise beats’ ominous production, rolling out a flurry of confident raps with a casual ferocity that’s immediately riveting.

Sigag Lauren x Lex Ash – “We’ll Dance Again”

If you didn’t know, Nigeria has a burgeoning EDM culture that’s worth paying attention. One of the names on the forefront of the movement is Sigag Lauren, the rising producer/DJ who’s just put out his first ever music video for his latest single, “We’ll Dance Again”. Featuring vocal assist from Lex Ash, “We’ll Dance Again” is a beaming shot of optimism in these dour times, made evident through Sigag’s production that moves between wistful and boisterous, as well as Lex’s plaintive lyrics and radiant singing.

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


ICYMI: LISTEN TO NEW MUSIC FROM ADÉ LASODÉ, 2 BABA, SARKODIE & MORE