Songs of the day: New Music from Ladipoe, Teni, Tellaman & more

It’s been almost six months of self-isolating to flatten the curve of COVID-19, and things haven’t become any easier. The one constant through these bleak times is the vast array of new music we’re getting from all our favourite artists, which definitely help make the world a bit brighter considering everything. In a bid to constantly highlight the best music from this period, we’ve scoured through the continent and selected our Top picks of all the best songs released today.

Our selections for today includes the collaboration between Ladipoe and Teni, Tellaman taps Alpha P for his latest single, Alpha Ojini leads one of the most exciting Nigerian rap posse cuts in recent memory, Korede Bello’s Rexxie-produced single and more. Enjoy.

Ladipoe x Teni – “Lemme Know (Remix)”

Ladipoe is having a great year. Late last week, the rapper updated his biggest single yet, “Know You”, with a stunning music video which has already crossed half-a-million views on YouTube. Almost immediately after, he shared the remix to “Lemme Know”, a loose single which became an official release after it quickly became a fan favourite on social media. In a pretty neat move, the remix features Teni, who Poe referenced with the memorable line, “Your sugar mummy on my case like Teni”. The remix retains Ozedikus’ horn-laden, springy and Poe’s original verses, while Teni adds her unique flavour with a boastful verse.

Tellaman x Alpha P – “Cross My Heart (Remix)”

With his excellent debut album, ‘God Decides’, South African singer Tellaman established himself as an emergent leader in r&b music on the continent. On one of the many standouts, “Cross My Heart”, the singer linked up with Tay Iwar for a bubbly romantic cut, and he’s now reached back to the song for a remix, this time around he features the wunderkind, Alpha P. For the remix, Tellaman retains the rhythmic, afro-Caribbean production as well as his initial contribution, leaving up space for Alpha P to shine with his stellar contribution.

Azana x Sino Msolo – “Umaqondana”

Azana broke into South African music consciousness following her phenomenal performance on Sun-El Musician’s “Uhuru”, and she’s not wasting any time establishing herself as a fast-rising star. The singer is gearing up to release her debut LP, ‘Ingoma’, later this week, and she’s been sharing singles to build up anticipation for the album. For the final pre-release drop, she’s shared “Umaqondana”, and it features another Sun-El protégé, Sino Msolo. Backed by radiant keys, horn stabs and fast rolling percussion, the pair show off their entrancing vocals, as they sing about the hope of finding love in a world filled with situationships (or ‘entanglements’ if you will).

Missaei – “Killa”

Missaei’s “Bad Boy”, featuring L.A.X, brought her closer to mainstream consciousness, and she’s proving herself worthy of increased attention with each new drop. She’s just shared her second single of the year, “Killa”, a confident bop which finds her protecting her energy and warding off anyone who tries to come at her. “So when I say you won’t see the uglier side of me/no, you won’t bring me down”, she asserts over the self-produced mix of bouncy mid-tempo drums and steel pan riffs.

Alpha Ojini x Psycho YP x Zilla Oaks x Paybac Iboro x Vader the Wildcard x Hotyce x Payper Corleone – “Pop II”

After the release of impressive sophomore project, ‘Chvmeleon’, Alpha Ojini hinted at the possibility of a few remixes to a couple of fan favourites on the album. The rapper/producer has now shared the remix to the project’s lead single, “Pop”, and he brings together an army of featured rappers that mirror the diversity of Nigeria’s English rap scene. Over the oriental strings, flute riffs and floor trembling bass, all seven rappers come out swinging with an array of punchlines and endless quotables, creating a chain reaction that sounds like seven grenades detonating in quick succession. In a rap space where posse cuts are rare occurrences, the blistering quality of “Pop II” makes a case for more rappers collaborating on wax, at the very least, for the thrill of it.

Korede Bello – “Morire”

Korede Bello has been on a run of impressive releases, and the Mavin singer is currently gearing up to drop a new EP, ‘Table for Two’. While the project will feature the previously released “Mi Casa Su Casa” as its lead single, the singer has now shared the intro track, “Morire”, as the second single. Accompanied by Rexxie’s wistful flute melodies and folksy percussion, Korede Bello delivers an affectionate set, appreciating fans who have stood by him since his infamous wink #thatyear, reminiscing on his path to success and also sharing words of encouragement.

[mc4wp_form id=”26074″]


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


BEST NEW MUSIC: AMAARAE “LEAVE ME ALONE” IS THE SELF-ISOLATION ANTHEM

Best New Music: Amaarae “Leave Me Alone” is the self-isolation anthem

Amaarae released her first EP, ‘PassionFruit Summers’ in 2017 and has since become a true cult figure —a singer with a ubiquitous voice from Ghana whose instantly recognisable vocals and style crossed over to fit in with Nigeria’s burgeoning alté scene. Over the course of her career, she has developed a reputation as one of the most bracingly frank songwriters of our generation with her often sexually explicit lyrics to match her sensual voice. Her new single, “Leave Me Alone”, however, finds her channelling her air of awareness in a different way than we’re used to, speaking about finding strength in solitude.

Given the current state of affairs all over the world and on the Internet, (why is everything a frigging cake!?), “Leave Me Alone” is coming perhaps at the time when we need it the most. She sets the precedence early on enough in the song, where she states point-blank: “Me no need favour from no one but God, ’cause I got me”, and in some ways, is presenting the natural evolution from where Odunsi & Tems seem to be on our BNM pick that week, “Decided”. 

Produced by Kuvie and KZ the Producer, the song’s bedding is filled with classic highlife guitar riffs which gives Amaarae’s r&b and pop melodies room to back up this freedom when she’s realised that all she needs is herself after examining the unhealthy nature of some of her relationships. Essentially, the song makes a strong and compelling case for self-isolation, which seems to be the cure for avoiding the global pandemic and also in the middle of all the societal ills we’re experiencing (why is everything a cake!?).

“Leave Me Alone” feels bright and easy-going on the surface – thanks to the actual music – however, the lyrics reveal her hatred for wasting time on people who don’t make her happy, and aggressively fight for her solitude. It’s no easy feat to present such reclusive feelings against a catchy beat, but the casual elegance of Amaarae’s voice proves worthy of the task.

When the song was released, she explained in a tweet that the song is “For the Young OGs to smoke and be happy to” and we’re almost certain it has the desired effect. Amaarae has always been ahead of the curve and she’s showing no signs of stopping, as she’s building up to the release of her coming project, ‘The Angel You Don’t Know’. 

She said she’s about to get deeper in her bag for the next six months, and we’re ready.

Stream “Leave Me Alone” here:

Featured image credits/


ICYMI: Rema embraces his trap sounds on new single “Alien”

NATIVE Exclusive: Skales has a newfound appreciation for life

Much like any other industry subject to the forces of capitalism, contentment is quite the elusive concept in the music industry. As artists advance in their careers and with each new release, there’s an expectation of commercial success and constantly levelling up, which is almost always about whether the artist can surpass their current level of acclaim. From breaking out to proving consistency to rising to the top of the popularity pyramid, there’s an emphasis on forward motion that makes it difficult for many artists to truly relish the accomplishment of putting out a project.

Very often, when I speak to artists who have just put new music out, it’s easy to hear the high hopes in their words and glean the anxiousness for success in their voice. When I spoke to Skales less than a week after dropping his recent EP, ‘Healing Process’, it was surprisingly refreshing to hear him speak with gratitude and a deep level of contentment. “It’s been really good” Skales offers when I ask him what the reception had been like in the early days since the release. “In fact, more than anything, I’m happy that the project is out ‘cause it means a lot that I’m here and I’m still doing what I love.”

This appreciative demeanour is the polar opposite of what he offered us two years ago: “Someone like Olamide would say ‘Skales should have killed himself by now.’” At the time, Skales was in a peculiar place in his career, where he was no longer the easy target of caustic jokes about unsuccessful artists. He was four years removed from “Shake Body”, the hit single that would rocket him back into prominence following his exit from Banky W’s EME imprint, two albums and several big singles deep into his resurgence, but there was still a disconnect between his successes and what was initially expected of him. And a lot of that stemmed from his switch-up from rapper to pop artist.

Back then, Skales pointed to his achievements as justification for revamping his primary style of music, noting that it had opened doors, given him so many opportunities and made him into the bankable artist. Today, he’s less keen on these types of explanations that convey some sort of frustration, opting to count his blessings, stay in the moment and putting his current situation in perspective with his journey so far.

About a week before ‘Healing Process’ came out, Skales dropped a trailer in anticipation of the EP, crystallising his mindset and the circumstances that inspired the EP into an affecting short video. In between bright shots of Skales strolling and taking in the sun on a beach, we see clips of the singer receiving medical care, and going by the drip by his bedside, it’s safe to presume it was pretty serious. Being able to come out on the other side with a clean bill of health, and the fact that life always has challenges waiting on every corner is what inspired the project’s title and loosely informs the songs on the EP.

NATIVE: You always seem to go for profound titles for your projects, why is that?

“I pick my album titles based on whatever I’m going through at the moment, or whatever I write down that feels right. Like ‘Man of the Year’, I had those issues after I left EME, many people wrote me off and didn’t think I was gonna come back, but then, boom!

For ‘The Never Say Never Guy’, the road wasn’t smooth, there were a lot of stories and doubters, and that was a challenge to myself to prove them wrong. With ‘Mr Love’, that’s a nickname my friends call me because they know me as a lover-boy, and the album basically was about love.

For this project, a couple of things happened and I started appreciating life a little more. I was sick for months and many people didn’t know, but I kept thinking about the fact that I could afford to pay for my healthcare and there are people that cannot afford these things. Also, I went through being hurt by people, disappointments and failures, and I know that I’m not the only one that deals with that.”

Going by the title and the trailer, you’d probably expect ‘Healing Process’ to be an overly introspective project, but that’s not what Skales delivers. The EP lands within Skales’ established flair for rhythmic music better suited for dancefloors. Like his previous projects, the title baits you in with something profound, but switches into a set of songs that are partly enjoyable and partly banal. Unlike his previous projects, though, Skales sounds rejuvenated and in better control of his powers as a songwriter.

With seven tracks clocking in at a brisk 21-minute run time, ‘Healing Process’ is far leaner than Skales’ previous three albums, all of which suffered in quality due to the amount of bloat and filler tracks. By being concise, ‘Healing Process’ cuts out any excesses in a way that emboldens Skales’ best qualities as an artist that conjures bright melodies and favours hook-driven writing. On the opening track, “God is Good”, Skales predictably gets prayerful, fortifying the sheer relatability of the theme with a personal approach to his writing and an impressive display of his singing chops. On the standout selection, “On Your Side”, he imbues the bouncy, fast-paced song with a dotting charm that’s pulled from the R&B playbook, creating a blue-eyed love song that can slot into wedding playlists and club sets.

An integral part to the enjoyability of ‘Healing Process’ is the impressive production, boasting a set of colourful beats that skate around afropop, dancehall and even veers into trap on the Ice Prince-assisted final cut, “A‘Lagos”. This project is far from a reset for an artist who defines himself as an artist who primarily makes Dance music, but it also feels like a new chapter, by being a reupholstering of Skales’ sound, and gone are the tendencies towards selecting insipid and overproduced beats. For that, Skales gives major credit to Kezie, the teenage producer who serves as the main co-conspirator on the EP and is now signed to Skales’ imprint, OHK Entertainment. With this creative partnership, ‘Healing Process’ amounts to a replay-worthy project that also stands as Skales’ best body of work till date.

As much as it can be described as a collection of happy-go-lucky songs, Skales explains that the relation between the content of the EP and its title is implicit since the intention is to use his music to create pockets of unreserved happiness for listeners. “Basically, all I’m saying is, every second, every minute, every hour, every day is a healing process, because there’s a lot of things we can’t change or control, and we have to go through them and move on” he explains. “I’ve come out of my own difficult experiences with a better appreciation for life and that’s what I want my music to show.”

Very often, when artists have been through life-impacting situations we expect them to detail it in their music, so that we can identify with them as people who also go through difficult situations just like us. Skales tells me he’s well aware of these expectations, but he’s gotten to a point in his life where he’s focused on the emphasising the positives, and it’s easy to see why. He’s survived through multiple, career-derailing valleys; in interviews and on his Twitter he’s let the world in on the domestic abuse his mother suffered and the difficult circumstances she raised him in, and he’s had to battle a serious illness to be alive. With all of this being public knowledge, he believes he’s earned the leeway to deliver music that reflects where he is at the moment, even though it is attached to a baggage of difficulties.

NATIVE: Do you think you wear the underdog tag as a badge of honour?

Yeah, I think so. Being an underdog is my story and I’m not even trying to sound bitter, man. This is a kid that came from a city that’s over 14-hours by road, into a megacity that he doesn’t know anybody, and he’s come this far. I’ve worked hard and I’ve sacrificed so much to get to where I’m at.

NATIVE: What’s the biggest sacrifice you’ve made as an artist?

I’ve emptied my account many times to make sure things happen. It’s not a smart decision—I won’t advise anybody to do that [laughs]—but sometimes, you just have to take the risk and I’m grateful it’s paying off.

At the moment, Skales is satisfied with everything he’s achieved. While he has plans to remain consistent and keep growing upwards, he’s not letting the constant race for sustained prominence give him anxiety. Contentment doesn’t equal complacency – if anything, it indicates a strong level of security and Skales is so secure about himself that he’s not too bothered by not being the biggest superstar. He considers having a huge fan base across Africa—East Africa especially—and in the UAE as indicators that he’s doing well for himself, he’s scored big collaborations with Major Lazer, Nicki Minaj, Akon and more, and he only sees more positives for himself going forward.

For an artist who spends a lot of his time touring and performing, Skales isn’t happy about the ongoing pandemic that has restricted travels and cancelled the possibilities of large gatherings in the foreseeable future—“I won’t lie, it hurt my feelings so bad”. However, he views as one of those things he can’t control, so staying safe, connecting with those closest to him, continually creating (he’s working on a rap album) and embracing happiness is how he’s coping.

NATIVE: What would you define as happiness?

Happiness is peace of mind to me, doing what you love and being profitable from it.

NATIVE: Are you happy?

Of course, I’m happy!

Listen to ‘Healing Process’ here.

[mc4wp_form id=”26074″]


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


NATIVE EXCLUSIVE: IT’S ADEY’S TIME IN THE LIMELIGHT

AMKMQ unveils her new collection ‘Say What You Mean’

After letting us into her multimedia world where she’s constantly debating gender and purity politics and wowing us in the latest Mowalola campaign for her designer handbags, 21-year-old creative and activist AMKMQ is showing no signs of slowing down any time soon.

Today she is unveiling her second collection titled ‘Say What You Mean: Do What You Say’, a collection of unisex tops and tees – a colourful concoction of carefreeness, sex appeal, and confidence. Created with black women in mind, each piece can still be worn by every and anyone who wishes to feel good in them, whether that’s at a summer picnic or a protest.

This year has been incredibly difficult for everyone collectively, but even more so for black people and black women around the world who are constantly consuming horrific news about misogynoir, racism, and sex and gender-based violence.

That’s why in a bid to contribute to the fight against the injustices that women face in society, AMKMQ is giving a portion of the proceeds raised from her collection at the end of the summer to the Mirabel Center, one of the organisations tackling sex-based injustices in Nigeria.

Speaking to the NATIVE about the collection, AMKMQ shared:

“The ‘Say What You Mean’ Collection is a culmination of every emotion I’ve weathered the past four months of lockdown – both as a black woman and as an individual in this world. It’s been a lot, for ALL of us at that. The excesses of the world seem to have finally begun to keel over, and there has been so much pain and destruction that has come from that. Collectively.
But with every form of destruction comes a form of rebirth (if you let it). I’ve realized that during this lockdown. Every time I have come apart, I have put myself back together. And now, every time I choose to use my voice to speak up for what I believe in, I know I’m saying exactly what I mean.
In a world that has been continuously revealed to be built on dishonesty, greed, and deception, I have never felt it more pertinent for people to speak from their hearts and act with their chests than I do at this moment. It is time to make a choice. It is finally time to say exactly what we mean, and there’s no escaping that. And I’m very happy to be a part of that.”

The collection will be available at 8 pm today here.

Featured image credits/AMKMQ


Tami is somewhere dissociating. Tweet her your favourite meme @tamimak_


ICYMI: How multi-faceted artist, AMKMQ is redefining purity politics for West African women

Rema teams up with DJDS and Tory Lanez for “Simple Things”

Rema has been on fire in the past few weeks and in no rush to slow down, has given us a double dose of his pure vibes today. He released a compilation album of all our favourite songs he’s been doling out, and that wasn’t all he had in store for us, as the singer has also teamed up with Grammy-nominated DJDS and Tory Lanez for a reflective new song, “Simple Things”.

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

Last year, DJDs teamed up with Burna Boy for the 4-track EP, “Steel & Copper”, which housed reflective songs such as “Thuggin” and “Darko”. Now, they’ve returned to Nigeria and enlisted our current star boy, Rema, in the peak of his dominant run at the moment. The joyous mid-tempo beat by DJDS leaves a lot of room for Rema to do most of the heavy lifting, handling the hook and a closing verse. Tory Lanez joins him for a verse and sparse ad-libs in between instrumental breaks, where he lays out all the things he’s looking for in a relationship.

Rema starts and closes the song with the infectious hook singing “simple things are your blessing, how you no notice your blessing”, which seems very fitting to these times. Currently, as the world tries to navigate the threat of a pandemic, everything has been stripped down and we’re all reliant the important things in life. Rema is reminding us that it’s in the simple things, and sends a reassuring message (against a beat that slaps) to everyone.

Listen to “Simple Things” here:

Featured Image Credits: Instagram/heisrema
[mc4wp_form id=”26074″]


ICYMI: Rema’s “Woman” is this week’s Best New Music

Watch the video for FOREVATIRED’s latest single, “Devil Fruit”

Our favourite Abuja-based music collective, FOREVATIRED have kept us interested since they were formed in 2017, and their music has since been hard to ignore. Back in December, they released their latest album, ‘Before You Kill Us All’ and now seem to be gearing up to their next, ‘Those Kids Next Door’ with their latest single, “Devil Fruit”. 

View this post on Instagram

kids

A post shared by @ forevatired on

Released last week, “Devil Fruit” is in keeping with their usual brand of dreamy, ethereal pop sound. Backed by a ubiquitous beat which demands your attention, the song benefits from the switch up between hard-hitting raps and a melodious flow and a melodious flow. For the accompanying video, we follow members of the group from their living room where they knock back shots and share a jay, to a dreamy landscape where they perform the song with lots of colourful foliage.

“Devil Fruit” is their first offering of their upcoming project, which is set to capture all the things the group have been going through during the pandemic-induced lockdown. We’ve come to expect FOREVATIRED to get us into the depths of our feelings, and we’re ready.

Watch the video for “Devil Fruit” here:

Listen to Amaarae’s bouncy new single, “Leave Me Alone”

The wait is finally over, and Amaarae has released some new music. This year alone, she’s wowed us with her guest features on Oiee’s “Still Dey Inside” alongside Mensah and Odunsi’s “Body Count” alongside Gigi Atlantis & Deto Black. Now, she’s released her first official single of the year, “Leave Me Alone” and she’s sending a message about protecting your peace.

Amaarae is one of the most exciting artists at the moment, who’s distinct style and instantly recognisable voice sets her apart. Her introspective yet lighthearted declarations are a defining factor of her previous songs, “Like It” and “Spend Some Time” and now she’s following suit with the latest release.

On Twitter, she declared that “Leave me Alone” is for the Young OGs to smoke and be happy to, and we couldn’t agree more. The song is about learning how to protect your peace, regardless of what’s going on in the world. In her usual calm tone, she sings: “You’re fucking up my mental space, you’re blowing my high. Too much energy being wasted on business not mine” giving good indication of where her head is at and her disinterest in spending time on things that don’t make her happy.

With the state of the world at the moment, it’s no surprise that Amaarae is feeling like this and spreading the word to the rest of us. Like she said, she’s about to get deep into her bag in the next 6 months and if this is anything to go by, let’s have it.

Listen to “Leave Me Alone” here:

Life in Quarantine: Here’s what ‘Elevator Baby’ director, Akay Mason has on his watch list

We’re spending a lot more time these days streaming some of our favorite television shows and films as the coronavirus-induced stay-at-home order enters its fourth month. Each week, there seems to be several new Nollywood film joining the Netflix Naija catalogue ready for us to watch and then debate later on Twitter.

A few weeks ago, Akay Mason’s latest film ‘Elevator Baby’, made its Netflix debut, and many film lovers finally got to watch Timini Egbuson and Toyin Aimakhua’s world collide on their screens. When I asked Akay Mason about his feelings towards people watching for the first time, he tells me:It’s always amazing when people watch your movies and people love it or hate it. I guess one of the biggest fears when you create content is that no one reacts to it so you don’t want to create content that no one reacts to’.

‘Elevator Baby’ may not have all-round raving reviews, but he’s been more concerned with those who his craft is positively impacting. He tells me the story of a woman who called him crying after a tragic experience with childbirth, and felt really happy to find that the child in ‘Elevator Baby’ survived. To him, This is the reason why you make movies, to touch people and make them find things they relate to in the movie’. 

 

View this post on Instagram

 

A post shared by Akhigbe Ilozobhie (@akay_mason) on

As he currently works on his upcoming film ‘DOD’ with co-director Abosi Ogba, we caught up with Akay Mason as he quarantines in Lagos. He’s spending his time indoors wisely and trying to keep his brain engaged by reading as many Hollywood screenplays as he can, and watching some of his favourite movies from Niyi Akimolayan’s The Set Up to Paul Thomas Anderson’s There Will Be Blood.

On how he’s adjusting creatively and personally to the change

It’s pretty much been business as usual for me. My life has mostly been indoors before this, so it’s my normal routine except that I can’t go to the cinema or hang out with friends.

We are currently working on the sound design for my next film ‘DOD’ and it’s been strange to talk to my sound designer over Zoom. The Zoom audio quality doesn’t really give you the actual authentic sound, so it’s hard to judge and give notes. But as human beings, we immediately know how to adapt so I’ve adapted to organising script conferences over Zoom. It’s been challenging because the energy in the writer’s room is where you debate and engage with everyone but over zoom, it can get lost in translation. Someone’s wifi may be messing up but we are making it work.

I also stumbled upon a book called Homo Deus by Yuval Noah Harari. It’s a very interesting book that touches on how we have dealt with past pandemics and what the possible next threat for humanity would be. It brought out some really interesting notes, for someone that wrote a book a few years ago, the book is quite relatable to the current situation of the world. It doesn’t add to my anxieties about the current pandemic because I don’t really suffer from anxiety, but it makes me understand that with everything in human history, things come and things go, so this too shall pass. 

On how the pandemic has affected his film projects

With the coronavirus, it’s impossible to put your movie in the cinema right now because no cinema is open and you don’t really want to release it only on Netflix because you miss the opportunity to test the cinema audience. The best bet for us right now is to hold unto the movie.

Our distributors are working right now with Film One and the cinema houses so that when the cinema opens again, and we gauge the reaction from audiences; whether they resume watching films at the cinema or not, then we will have a proper release date. The cloud of uncertainty that is covering everyone is also covering us as well. That’s one of our fears, are people even going to be able to enjoy the cinema experience post-pandemic. 

There are projects that I should be directing right now but because of the pandemic, we can’t move ahead with that, and that’s understandable because you don’t want to put any of your cast/crew in harm’s way at the moment. You don’t want to contribute to the problem, you want to be part of the solution so I am gladly putting all my directing projects on hold till this blows over. Until we find a way to work around this. 

 

View this post on Instagram

 

A post shared by Akhigbe Ilozobhie (@akay_mason) on

On his quarantine watch list

I have been watching a lot of Netflix. The Last Dance, yes I am part of the statistic that has watched it and raved about it online. I have also been watching Paul Thomas Anderson movies, he’s my favourite director after Christopher Nolan. I have been streaming a lot on Netflix and Amazon.

So on my list are; Magnolia and There Will Be Blood by Paul Thomas Anderson. Adu which is on Netflix. The Set Up by Niyi Akinmolayan, Elevator Baby by yours truly and Django Unchained.

One thing he loves, likes and hates

I hate Zoom as I mentioned earlier. 

I like my solitude – I’m an introvert and I don’t like going out that much, but this quarantine has given me more time to myself. It’s been really introspective.

I love my Play Station and Jumia food – I don’t have to deal with rude cashiers anymore, I just call order my phone and pay.

Featured image credits/Guardian


Written by Tami Makinde


ICYMI: Into the mind of surreal 16 filmmaker, Abba Makama

Zarion Uti’s “Money” is a motivational anthem for the times

Everyone everywhere in the world will understand the importance of needing funds, and Zarion Uti upcoming single, “Money” is a testimony to that. A steady output of singles have made our Fresh Meat Alum one of the new generation Afropop who can simultaneously serve lightweight pop lyrics as vividly as a motivational hood anthem.

The hook for “Money” serves as a mantra for starving creative, where he sings “We need the money/ We want to jollie/ So where the money?/ Na the problem and we gaz solve am”. Throughout the song, he adopts an all-to-familiar narrative, where he gives a play-by-play narration of his come-up from the ghetto.

Toronto-based producer, BRYM sets the song to a swaying laidback groove, mixing Afropop drum riffs with percussion and synths. With the beat drop matching Zarion’s tale of triumph, “Money” is an anthemic bop with lyrics primed to be chanted. With an economic recession looming over the world since the pandemic-induced lock-down, we can all agree that the lyrics will resonate.

Speaking to The NATIVE, explaining some of the inspiration behind the song, Zarion said:

“The song means a lot to me because it’s about the struggle. putting your dreams first and striving harder even in the face of adversity. In the times of a global pandemic, money is still highly relevant. It’s the main reason many people are frustrated so it’s basically my way of saying they aren’t alone. We all just trying to achieve our dreams so we can live a better life.”

Stream “Money” by Zarion Uti exclusively below:

Featured image credits/Zarion Uti


ICYMI: Fresh Meat – The Best New Artists This June

Ladipoe updates his latest single “Know You” with a memorable video

Back in April, Ladipoe released the romantic number “Know You” featuring Simi, an honest and open track on which he tells the tale of a coy love story where no one is willing to admit their feelings. The relatability of the track certainly made it a worthy number 1 on the charts for weeks, and now he’s released a video to give us a visual backing of the song’s message.

View this post on Instagram

 

A post shared by Leader of The Revival (@ladipoe) on

The colourful video opens on a rainy evening in Lagos, with a young woman standing outside without a jacket to shelter her from the cold. Ladipoe notices her shivering while he’s waiting for his ride and as a gentleman offers her his jacket. The pair end up getting on, and a budding romance begins between the two, after he finds her phone number in his jacket pocket.

‘E be like say I no remember say/I Say I no really know u that well’ Simi sings on the hook, as the romance between the two lovebirds starts to deepen. With the photo-shoot-ready sets and stylish outfits provided by Daniel Obasi in the video, the chart-topping track has ahead even better with an accompanying video.

Watch the video for “Know You” below.

Featured image credits/Youtube


Tami is somewhere dissociating. Tweet her your favourite meme @tamimak_


ICYMI: Watch Omah Lay in the video for “Lolo”

The shuffle: Ronnie’s “The Way I Feel Rap” laid the foundation for Nigeria rap

Being a 90s baby in a Nigerian household for me meant King Sunny Ade’s funky tunes playing at ear-piercing volume whenever my dad was in a good mood. It was also Fela blasting out from the sound system of the 504 and Yinka Ayefele providing the soundtrack at big parties. Music from the 70s was sophisticated, loud, at times political and a world way from the explicit MTV curated songs I loved and wanted to listen.

However, as I got older, these Nigerian classic moved from being background noise to form a part of my cultural heritage and a fond memory of my childhood bond with my parents. So you can imagine my shock when I found out that the first hip-hop song in Nigeria was not DJ Jimmy Jatt’s “Stylee”, but rather, a song released as far back as the early 80s’. With hip-hop‘s undeniable dominance today, it would seem that my mom and dad missed the cool train by a few years.

“The Way I Feel Rap” was released in 1981 by Ronnie (Ron Ekundayo), a popular TV presenter, OAP and DJ in Lagos who had caught on to hip-hop’s chart-topping appeal after Sugarhill Gang’s “Rapper’s Delight” first introduced rap to a global audience in 1979. His role as a DJ, OAP and TV presenter allowed him to spot the hip-hop trend DJ Kool Herc had started in the Bronx and so when he decided to add music artist to his resume, he made sure to infuse rap elements to his debut project, ‘The Way I Feel’.

Listening to ‘The Way I Feel’ reveals that Nigerian musicians have always taken foreign music and played it back through a Nigerian filter. The project catered to the funk and disco demands of dance floors in the 70’s, as each track featured electronic synths that captured funk’s devotion to rhythm and dance. It could easily have been buried under the sheer volume of similar sounding project from the time, but Ronnie’s hip-hop experiment on “The Way I Feel Rap” rescued it from obscurity and earned him a place in Nigeria’s music history as the first rap song from Nigeria and possibly Africa.

Where Chris Okotie set a purist standard for disco music with his funky beats and melodies, Ronnie’s selling point was the wild eyed enthusiasm to explore and discover amazing new sounds. Saying “I’m going to do it my way/ I’m going to rap to the beat the way I feel” with hip-hop’s conversational cadence, “The Way I Feel Rap” doesn’t sound like it was recorded by someone who was recreating rap for commercial reasons. In fact, he was trying to encourage more people to catch the vibe, as he spends most of the song defending rap’s appeal to listeners while still narrating his romantic encounter at a club; “It makes you rock/ it makes you want to disco down/ She’s got that thing called sex appeal”.

“The Way I Feel Rap” inspired other early adopters of rap, such as  Mams and Hart who offered pointers at things to come and Oby Onyioha, who highlighted hip-hop’s break dancing and sneaker culture. While these first attempts at hip-hop in Nigeria were awkward and mostly seen as mindless party chants, Nigerian rap has become decidedly more refined since the new generation of rappers like Naira Marley, Rema, Maison2500, PsychoYP, Blaqbonez and others emerged with their impressive and distinct narratives. Ronnie’s song means rappers from Africa have their own homegrown and history to fall back on, and even though disco was also in the offering on “The Way I Feel Rap”, it still stands as the first official declaration of Nigerian rap and the new era in music.

Stream Ronnie’s “The Way I Feel Rap” below.

Featured Image Credits: YouTube/Average Records

[mc4wp_form id=”26074″]


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: Looking back at DJ Jimmy Jatt’s influence on Nigerian music

The Sexual Harassment Bill has now passed its third reading

The past few months have been difficult for women collectively. The harrowing and continuous news cycle of sexual and gender-based violence, at almost every corner of the country, has left us all severely scarred. Being one of the oldest, and most-widespread crimes in society today, you’d think we would have bulletproof laws to protect survivors yet the topic still remains ridden with controversy as there is little to no protection to cover all areas of this heinous crime.

Back in March, we spoke about everything you need to know about the Sexual Harassment Bill which is currently making its way through Senate, and yesterday, we learnt that this bill has now passed its third reading. This means that the Bill has gone through enough considerable steps, and can no longer be amended. It also means that there are only a few steps left before this Bill becomes a part of our law, and this is definitely a feat to celebrate as young women around the country can soon rely on the provisions and protections of this Bill.

Given that we live in a country where our lawmakers still believe that women should dress ‘appropriately’ to avoid sexual assault because ‘men are not wood’, and others that have evaded responsibility even with concrete video evidence of them being physically violent with a woman, it is clear to see that it’s time for the culture of silence and rape to shift and this Bill is a step in the right direction.

You can read the provisions of the Bill here.

Featured image credits/Quartz


Tami is somewhere dissociating. Tweet her your favourite meme @tamimak_


ICYMI: The need for institutional reform in light of sexual assault laws in Nigeria

NATIVE PREMIERE: WurlD is done playing games in the video for “Wayo (Kpe Le Wu)”

WurlD is one of the most hardworking artists out at the moment, and his ever-growing music catalogue is proof enough of his star power as he’s just released his third project in the span of fourteen months. The 7-track project ‘AFROSOUL’ houses a diverse range of sounds as WurlD delves into themes of self-awareness, romance, heartbreak, survival, and perseverance. He shows no signs of slowing down and has now released the video treatment for one of the singles off the project, “WAYO (Kpe Le Wu).

Directed by Baba Agba and WurlD himself, the video for “WAYO (Kpe Le Wu)” opens up with WurlD performing for his fans in what appears to be an intimate cabaret performance. He performs his set while locking eyes with a female fan in the crowd who is just as smitten with the star as he is with her.

They communicate through explicit non-verbal gestures, as their eyes lock and hold throughout WurlD’s performance. ‘My feelings getting critical/this is more than physical’ WurlD chants during his set, as his romantic lyrics seem to be aimed at this one woman who has caught his attention. Halfway through his performance, the mystery woman becomes so engrossed that she slips into an imaginary world where she gets an intimate and private audience with WurlD.

Speaking about the new video, WurlD tells the NATIVE:

“Wayo is a blend of Afrobeat with soul music. This song shines light on the idea of wanting assurance of commitment from a lover “no do me Wayo” which means “don’t play games with me.

The video focuses more on an imaginary love connection between me and a fan at a show. This describes special and intimate moments with me and fans at my shows, like it’s just us alone at the concert.”

Get a first look at the video for “WAYO (Kpe Le Wu)” here.

Featured image credits/Chuchu Ojekwe and Vizuvlgvds


Tami is somewhere dissociating. Tweet her your favourite meme @tamimak_


ICYMI: Watch Omah Lay in the video for “Lo Lo”

Watch Omah Lay in the video for “Lo Lo”

Omah Lay has kept his foot on the pedal since his debut single, “You” broke him into mainstream acclaim. Less than a year into his career, the singer has already broken several boundaries and gained the attention of the whole world. He shows no signs of slowing down and has now released a new video for “Lo Lo”, one of the tracks for his recently releases EP, ‘Get Layd’. 

Directed by Dammy Twitch, the “Lo Lo” video maintains his usual penchant for bright colours and scenery. The video opens with Omah Lay getting his hair braided at a salon alongside a group of models dressed to the nines. With particularly striking looks in each scene, the picturesque video makes the song more enjoyable, with lyrics like “I look nice but I’m not so good”, which back up what we’re seeing.

With the photo-shoot-ready sets and stylish outfits that make Omah Lay and his entourage look like they stepped out of the cover of a magazine, we can expect to hear “Lo Lo” feature as the soundtrack to vanity posts on Instagram and TikTok in the coming weeks.

See the video for Omah Lay’s “Lo Lo” below.

Featured Image Credits: YouTube/Omah Lay
[mc4wp_form id=”26074″]


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: Omah Lay’s “Damn” made our Best New Music

Life In Ink: Cruel Santino walks us through his life, one tattoo at a time

Last month, in a late-night cryptic tweet to his 80k following on Twitter, Cruel Santino nee Santi announced his name change. His announcement, typed as though he was addressing old friends in a group chat read, ‘u guys I had to change my name to Cruel Santino’.

He began detailing how competing copyright issues with ‘one man in Spain’ led to the eventual decision to let his former moniker, ‘Santi’ go. In a moment of sudden digital proximity to the singer/rapper, fans immediately began to hunt for the planet’s most hated man–Santi from Spain. Cruel Santino laughs about the reaction from his fans and seems to understand their indignation, but he’s past being upset about the change. In fact, he’s known this day would eventually come: “This all began sometime last year,” he tells me over Facetime. “We tried to buy the copyrights but that fell through”.

Cruel is no stranger to dropping everything and transforming with a new name or personality. It won’t be his first time either, as OG fans will remember the slick-tongued rapper from yesteryear, Ozzy B.

Two months before this announcement, Cruel Santino had released the pilot episode of the ‘Late Night Show with Daisy Ola’, a 4-minute run-through of the different names and personalities that make up the multi-hyphenate creative. In contrast to the usual Nollywood horror-inspired videos we’re used to getting, this Cruel was happy in some places, sinister in others, but outrightly joyous throughout. A change to the brooding personality we’re used to, and most people will probably have never seen Cruel dancing or even talking before.

“I have so my characters to my being and myself, it’s like so many people in one” says Santino Criminal, one of Cruel’s many personalities. We didn’t know it back then, but Cruel was strategically easing fans into the next phase for him–the ascent of Cruel Santino.

Throughout the skit, the question of ‘who hurt Cruel?’ haunts the humourous late-night show, and the entire show becomes a search for Cruel and what inspired the pain that guides his creative decisions. The question also haunts Cruel Santino in real life, as he tells me;

“I feel like this is the most I have grown in my life. One thing that made this whole experience equal parts insane and special was the fact that I felt like this year I experienced pain. I was in a crazy place and I didn’t ever think I was going to come out of it.”

 

View this post on Instagram

 

A post shared by santi (@cruelsantino)

“I got two sleeves in two days” Cruel Santino tells me with a laugh. Before I am given any time to process the mental and physical strength it took to get two detailed sleeve tattoos in a matter of two days, he adds ‘I feel like is pain something I didn’t necessarily know I needed, but now that I have come out of it, I have learnt and understood so much’. There’s an ominous tone he employs when speaking about the pain he has endured this year, but this is quickly offset by a humourous story he relays to me about a racist encounter at the Dubai International Airport.

2020 has been a difficult year for all of us, as we’re currently tasked with fighting many social and personal battles simultaneously. For Cruel, he’s spent most of the year indoors and alone, working on his television show and his upcoming album. ‘There was a night where I went through an insane state of mind-fucking psychosis” he admits. The fear of being alone and dealing with his pain alone scared him so much that he had to fight his mind and pull himself out of this dark rut.

“When I fought it, I just went to the mirror and said you can’t keep wallowing in pain for the rest of your life or you are never going to do anything again. I’ve lost track of how much people have put in me – I’m referring to my fans and the people that have genuinely wanted to see me succeed, so I know I can’t let them down. When I fully realised this, I just felt like a different person.”

Enamoured by the love from family, friends, and fans, Cruel Santino decided that night to get a sleeve tattoo and he never looked back. ‘I spent that whole night trying to figure out what my first tattoo would be‘ he explains excitedly. ‘At first, I was going to get the late Britney Murphy’s name on one hand and Santigold’s name on the other’.

He quickly abandoned this idea after a close friend mentioned that permanently printing a real-life person’s name on his arm could be harmful in the long run because we all change and have different sides of ourselves we wish to amplify. He didn’t want to be stuck with someone’s name on his arm in case anything went left in future, and given that many Harry Potter fans are most likely regretting their HP-inspired tatts after J.K Rowling doubled down on her transphobia last month, no surprise there.

Here’s a breakdown of Cruel Santino’s tattoos:

(Right arm)

“The next best option for me was to get my favourite anime characters. I picked them all myself and went to the artist the next day and asked him to merge their faces together.”

Esdeath – Akame Ga Kill

Matsumoto – Bleach

Winry- Full Metal Alchemist

Nezuko – Demon Slayer

Miwako – Paradise Kiss

Okay, so my right arm is for all the women from my favourite anime shows growing up, except for Akame Ga Kill which I just watched a month ago. But I had to include Esdeath because her character was so powerful and I had never felt a character that powerful.

She was the bad guy but I fell in love with her because she was bad but she was in love and that love just spokde to me. I feel like you have to watch it to understand. 

The last girl I got, I’m actually not sure of her name. I needed to include one more character and she had the coolest pink dreads so I was like fuck it, I’ll include her as well.” 

(Left Arm)

Ichigo – Bleach

Guts – Berserk

Killua – Hunter x Hunter

Eric – Full Metal Alchemist

Grimmjow Jaegerjaquez – Bleach

On my left arm, I got all the bad boys. I had to add Grimmjow from Bleach, he was part of the Espada and he was so cool. All of these are shows I had watched when I was growing up, and they really formed a part of who I was.”

Featured image credits/CruelSantino


Tami is somewhere dissociating. Tweet her your favourite meme @tamimak_


ICYMI: Wavy the Creator walks us through her state of mind, one tattoo at a time

How an entire generation of Nigerians grew up disliking their dark skin

Last week, British-Nigerian actress, Beverly Naya released an hour-long documentary titled ‘Skin’, a personal project which is close to her heart. In just over an hour, she compiled the stories of dark-skinned women in Nigeria who have been treated differently because of their skin colour and the country’s sordid relationship with skin bleaching products. Through ‘Skin’, the actress allows us to see ourselves and our experiences on screen, as any woman in Nigeria will immediately recognise familiar sentiments about growing up in their skin.

The women that Naya interviews as she travels through Lagos are raw, open, and deeply expressive about their struggles with acceptance and their decision to use skin bleaching products. Despite this, the Internet was up in arms about some of the less welcoming parts of the documentary, such as the inclusion of Eku Edewor and Phyno – two light-skinned celebrities whose contribution they complained didn’t really add much to the subject matter. Rather than use this as an avenue to talk openly about the privileges light-skinned people in our country face, people felt that their inclusion was offset by their lack of engagement with the subject matter.

Edewor complained about wanting to gain access to roles reserved for dark-skinned females, and how she was constantly told she could make it abroad, but maybe not in Nigeria. She spoke about wanting to leave Lagos, as she brandished her dual passports, but admitted she rethought her move when job offers kept coming in. While it’s her personal experience of the entertainment industry and valid, it’s hard to ignore that she didn’t particularly recognise the privilege she is afforded based on her complexion in a society which favours that over darker-skin.

In the world we live in, which has been the case since the dawn of time, dark skin is heavy to walk around in. Many black women you come across will be able to point out various moments of misogynoir and colourism during their lives. While colourism isn’t quite the same as racism, the two are inherently connected. Back in 2019, the Oscar-winning actor, Lupita Nyong’o told the BBC that colourism “is the daughter of racism” in “a world that rewards lighter skin over darker skin” and that sentiment is not lost on any of us today. While songs like Beyoncé’s “Brown Skin Girl” celebrate and uplift black women and embrace them as they are, this has not always been the attitude towards black women in our society, and dark-skinned black women in particular.

Colourism isn’t something that exists in America alone. In fact, it’s a global crisis, as skin bleaching market is booming in many countries around the world, particularly here in Africa. Growing up in Nigeria, where everyone wears their blackness in different shades and tones, you quickly notice that darker skin is put down and often made to look inferior to lighter skin.

The colour of one’s skin is typically used as an identifier, as we commonly throw around nicknames such as “yellow paw paw” or “blackie” when referring to a person. Whether this was caused by a faint lingering of colonialism, and how the colonisers separated lighter and darker-skinned people or internalised hatred for darker skin from an upliftment of lighter skin, the glaring result is that people saw dark skin as something to hate, dislike and change.

Like many of us who watched ‘Skin’, I left the documentary wanting to know and learn more about how deeply entrenched the effects of colourism are in my generation. Especially considering that just a few weeks ago, it was a topic of conversation on Twitter, as old tweets from black British influencers resurfaced and led to deeper conversations on the lasting repercussions of colourism on dark-skinned women. To this effect, we spoke to a number of dark-skinned women in our community and learnt about their experiences with colourism while growing up in Nigeria.

 

View this post on Instagram

 

A post shared by Dcktator (@thedcktator) on

Many dark-skinned black women all over the world have been made to bear the brunt of society’s obsession with a proximity to whiteness, and it’s no different in Nigeria. Right from the moment we are born, the colour of our skin becomes the topic of conversation and something to take pride or shame in, you’ll often hear comments like “she’ll still get dark, look at her ears” or “your baby na blackie”, all reinforcing that skin colour is a metric of perceived social value. Even the formative systems which are meant to protect us, contribute to this harm, and from schools to our homes, we are often reminded that our skin colour is something to be changed.

Take for instance the way Nigerian schools treat lighter-skinned children in their care over the darker-skinned kids. Light-skinned or biracial students were glamorised and given preferential treatment because of their skin colour, and the internalised idea that they were softer and more delicate and thus something worth protecting. I distinctly remember the lighter-skinned girls at my secondary school being exempt from cutting their hair while the rest of us were asked to pay an unwelcome visit to the school barber if our hair so much as grew an inch.

This is similar to the experiences of so many other Nigerian women today. 18-year-old, Victory, recounts how during her school’s annual class photo shoots, “they used “pretty” people and picked all the light-skinned people because they looked “fresher” according to them’. Consistently seeing this dynamic play out in front of you is sure to leave lasting effects about your a perceived inferiority, because majority of our time as adolescents were spent in school rather than at home. School formed our foundational basis for the way we viewed the world, so if the order of the day was an ingrained system of othering for darker-skinned people, you quickly understand why so many people have grown up with the beliefs they have.

Outside of school systems themselves, the way in which we interact with our school peers also has an effect on the way we internalise things, especially when it comes from those closest to us. For many dark-skinned women, their skin colour would become a means to attack them. Tiara, 20, tells me she was taught to love her darker skin at home, but when she got to school, she was constantly ridiculed. Her classmates would rudely compare her to her mum who was lighter than her, causing her to eventually resent herself and her mum. This affected her a great deal, and she tells me: ‘I would often ask myself whether God made me dark to punish me or something, because I took all of her features except her skin so why did everyone refer to me as the ugly version of her?’.

For 23-year-old A*, her dark skin was usually the subject of many heated arguments, ‘the first thing they’ll use as an attack will be to tell me I’m so dark. People will call me names like Blackie and [at a point] I had to adopt the name because if I’m using it then people can’t use it against me’ she tells me. The effects of those hurtful slurs last to this day as she sometimes catches herself wishing she were a little bit lighter.

“I mean even until today I wake up some days and I’m like yes yes yes I’m an actual babe and on some other days I’m just like I hate my skin I wish I was a bit lighter, not too light so it doesn’t seem like I hate the skin I’m in.”

Many darker-skinned women quickly noticed at a young age that they were never made the first choice and there was a different category of what was deemed ‘desirable’ because of society’s fixation with lighter-skinned women. This preference was (and still is) everywhere on our screens and it definitely also plays out in real life. 25-year-old Bahati Imaan Beauvais, tells me that having grown up around many dark-skinned women like her mum was a positive experience. She admired her mum the most, who was constantly praised for her rich dark skin and an awe-stricken Bahati wanted to be just like her. This was until she got into secondary school and suddenly learnt about society’s preference for light-skinned and biracial girls.

“The interaction with boys my age in secondary school tainted that perception. Although I never had the urge to change my skin colour, I remember feeling less than because I wasn’t light-skinned or biracial. The interracial girls were considered ‘elite’ and the lighter you were, the better you were treated.”

Skin colour and desirability have always been intertwined for as long as time itself.  We’re constantly told that partnering with lighter-skinned women is a personal preference, and while we agree it is, we can’t help but wonder whether this preference if examined, is probably rooted in misogynoir and colourism. Society, in general, has taught women that their worth is measured by how desirable they are to men, and it won’t be out of reach to have heard a comment in the past about how your dark skin could make you less attractive to men. For many women, romantic rejections at such a young age can change one’s perception of themselves, and if it’s linked to something which you feel can change (i.e the colour of your skin), it could probably drive you to. And as such, many of the women in ‘Skin’ cited romantic attraction as the basis for bleaching their skin.

For many other Nigerian women, colourism actually began at home. A* also tells me that her family was complicit in her internalising some of the harmful statements about her skin. ‘There’s a not so funny joke that goes on in my house on a daily about how I can get lost in the dark because I’m apparently too black for anyone to find me’ she explains. Even till today, she still gets told to wear makeup by her dad because she looks too dark.

Ade, 19, tells me her style choices have been dictated for as long as she can remember. It started off with being restricted from wearing black clothes and developed into her hair colour choices, as she was repeatedly told any other colourful looks would stand out glaringly on her dark skin.

“I remember when I first started to experiment with my hair colours and how she [mother] and my other family members would say that my hair made it seem like I was trying to draw attention to myself, because of how it looked against my skin.

I’m lucky in the sense that I do what I want regardless but I can’t say I didn’t unknowingly internalise some of their biased. It can be very annoying, but every day is really just a process of learning and unlearning.”

FJ,23, tells me she first became aware of her darker skin on one of her many visits to her grandmother’s home. ‘On one of my visits, she placed her forearm next to mine and highlight the fact she was multiple shades lighter than I was, which at the time was funny to me’. Since then, she became hyper-aware of her skin and this persisted to secondary school where people would often remind her that she is pretty, for a dark skin girl – a comment we’re all familiar with.

It’s alarming to think how many dark-skinned women grew up in homes that marginalised them, in a world that already threatened to erase them. Your home is meant to be a safe space from the harsh realities of the world, and if your skin colour cannot be accepted here, it will come as no surprise that you internalise these beleifs and pass it on to the next generation.

Fortunately, not all dark-skinned women have had to deal with this. In fact, some came from nurturing homes that reminded them they were beautiful just as they were. The flip side of this is a family home which fosters growth and allows darker-skinned children to never feel inferior about who they are or how they look.

21-year old C* tells me they grew up in a home with lighter-skinned siblings but was never made to feel any way about it, especially by their mother. ‘Thankfully my parents, especially my mum, was very sensitive towards the fact that being darker skinned might have made me feel insecure, so they constantly provided me with positive reinforcement regarding my skin tone pretty much as soon as I understood what being dark-skinned meant‘. In a home where it was accepted, C* was able to go out into the world and not internalise the treatment from others due to the colour of their skin.

“Fortunately for me, my parents were never complicit in colourism. It was never a topic that was even discussed, all I knew was my mum was dark and beautiful so dark was beautiful”.

Despite growing up in this nurturing environment, C* isn’t afraid to point out that many people would like to deny the existence of colourism in Nigeria, and have chosen to ignore the lived experiences of dark-skinned black women in the country. ‘They think because Genevieve and Mercy Johnson are in Nollywood movies, then that means that dark-skinned women and femmes don’t get treated differently but it’s really not the case’. To this effect, they are constantly seeking positive representation of dark-skinned women in media and have actually been inspired to become a filmmaker championing women that look just like them.

“So many Nigerians, even the well-educated ones, put lighter skin on a pedestal without even realising it and it’s something children easily absorb early on in life. This will affect you no matter how much “self-love” you have.

So at the end of the day, there still needs to be more substantial work done to resolve it than just telling dark-skinned women to just “ignore the haters and love themselves.”

 

View this post on Instagram

 

A post shared by Beverly Naya (@thebeverlynaya) on

Many biases toward dark-skinned people have been engrained from time immemorial, and we fail to consistently check and question them, which inevitably leads to them becoming the norm in society. These biases can be linked all the way back to the former British colonies in Nigeria, where white colonisers treated slaves inhumanely and left social implications that are still evident today. The role white colonial patriarchal systems have played cannot be divorced from the reality we are still facing, but in the work of dismantling these systems, we need to look inwards at our personal accountability.

Skin-tone-based prejudice used to be a subject only discussed in whispers, but slowly, and thankfully, that is changing. The existence of Beverly Naya’s ‘Skin’ documentary on Netflix Naija is a step in the right direction for opening up these conversations to young adults who grew up disliking their skin. Its shortcomings have definitely sparked open dialogue, and even inspired the basis for this piece. I think about the next generation often and while we grew up in a world where dark skin was insulted and degraded every other day, we’re coming into times where women are getting irreverently louder about their self-worth regardless of what society dictates.

Colourism and its harmful effects won’t just wipe away because black is now seen as beautiful, but it begins with being able to talk about it openly. We have a long way to go, and everyone has an individual responsibility to check their biases and make sure the next generation of women never have room to question their worth in this world.

*Some names have been anonymised for the protection of women in our community.

Featured image credits/Bodylore


Tami is somewhere dissociating. Tweet her your favourite meme @tamimak_


ICYMI: 8 young Nigerians reveal how they discovered their queerness

NATIVE Exclusive: Fireboy is ready for the next level of the long game

In an industry where debut albums such as Wande Coal’s Mushin 2 Mo Hits or Wizkid’s Superstar are considered modern classics, it would be disingenuous to leave out albums which came later on in the year such as Odunsi The Engine’s rare. or Fireboy’s Laughter, Tears & Goosebumps which were game-changers in their own unique way. The 24-year-old is amongst a new vanguard of Nigerian hitmakers, who are all reinventing the game and are playing by rules written by them, changing the status quo of what kind of music to expect these days.

One thing we don’t see enough of in the Afropop scene is an artist’s entire debut album resonating with anyone who is listening,  without needing any gimmicks or extra promotional efforts. This is Fireboy’s magic trick, and having seen Afropop experience these shifts and grow from infancy to the global export it is today, Fireboy decided the scene needed his own special edge, which resulted in his debut album.

After dominating the airwaves with “Jealous” for most of 2019, his debut album ‘Laughter Tears and Goosebumps’ came right at the end to seal his position in our hearts (and ears). You might think that it took “Jealous” popping off for him to have his time, but what we’re seeing today has been 12 years in the making. 12 years of him realising testing the waters, deciding what he wants and slowing down to just do what comes naturally – to be himself. According to Fireboy,

Now having given us a solid introduction to what he has to offer, Fireboy is playing the long game and he’s preparing for the next level. Two weeks ago, he released his first single of the year, “New York City Girl”, and is clearing the space for the release of his sophomore album. So while we wait for the project to be ready and perhaps any new teasers, we caught up with the singer about his debut album his creative process, relationship with Olamide and more.

NATIVE: So, obviously there’s a lot going on around the world. From racism to the way women are being treated here in Nigeria. Do you feel the need, as an artist, to say something about everything that’s going on in the world at the moment?

Fireboy: Ahhm to be honest, I think doing is more than saying, but saying is important in the aspect of desensitising people and using your platform to educate people. Because most Nigerians, that’s just the problem [we’re] not well-educated on those kinds of thing. But the most important thing is doing – I don’t like to talk too much, to be honest. And I think, most of my fans have noticed that I don’t really tweet much, I don’t post much, I just like to sit back and just do my thing. But when you are given a platform like this, you have to do something. So, I try my best to just make sure I do something to help, or tweet to sensitise some people and I just leave it there. I don’t say too much, I don’t have [share] too many opinions on things or issues or topics and when I need to act, like maybe make a donation to the cost, things like that, that’s my thing. I feel like doing is very important.

NATIVE: So what have you been up to during lockdown? You must miss performing right now, how does that feel?

Fireboy: Well, most importantly I’ve just been making music and working on myself more – that’s basically what I’ve been doing. It’s crazy man. At first I was actually grateful for the break, ’cause I was reaching the point I was almost breaking down, like ‘oh my God I need some time to rest’. But after like a week or two I started feeling it. I miss the stage I miss the crowd I miss the energy, I actually miss the stress. I can’t even believe I’m saying this, I actually miss the stress of travelling. But it’s all good, things will more or less go back to normal.

NATIVE: Is your live performance something you’ve been deliberately working on? Do you want to make sure your performances are at the right level?

Fireboy: I respect that performance is a thing, being good at it is actually a thing I won’t lie. I feel like for some people, it’s in-born sha, but I feel like mostly it’s something you have to grow into and work hard at as well. I don’t want to be just seen as an artist, I want to be seen as a full complete musician and being a full musician is being able to perform. With every performance, I actually learn. I learn a thing or two  I go on YouTube and actually search my favourite performance and I see like the scenes and stuff so I learn from that, but it’s not easy men.

NATIVE: Your debut project, LGT was a big fan favourite last year. What was your thought process when making the album?

Fireboy: Like I said earlier, I just want to make a difference. Like I knew that I had a lot to prove. I knew that I had to do it differently if I wanted to attain that, y’know that musician status. I didn’t just want to be seen as the random Nigerian artist that just blew up and ‘oh okay… just another guy, another random guy who blew up’. I wanted to be seen in a different light. I just thought ‘ok, how do you do it? Uhh, you’ve been dropping singles, ok fine. You had a breakout single, a follow-up single, and everybody around you is dropping EPs, so like… how do you want to make a difference? How do you want to stand out?’ [I] said, ‘you know what? I feel like I can do it.’ And yes, I did it. I’m glad it paid off.

NATIVE: It definitely stood out with so many diverse sounds across the board. Is that something you set out to do with your producers? Do you work with one producer who knows what to do when it comes to your music, or you have many different people you work with?

Fireboy: Uhh, I’m not really like that. I’m used to recording alone, working alone, but I have a few really talented producers that I work with mainly. Number one is Pheelz, the in-house producer at YBNL– that’s family. Pheelz is a genius. I enjoy working with him, we have chemistry. I also have close friends like Crako Mallo and P Prang. I think it’s just limited to that, just that limited space of producers. Mostly, just work with talented producers, they don’t have to be big or well-known.

And the vibe, the fact that the whole album was considered different genres was just mainly because I knew it was going to be just me – I had no plans of featuring anybody on that album. So I felt, you can’t put out thirteen songs without featuring anybody and bore these people out. You have to give them different vibes y’know. I knew that I was compiling an album and I knew that they all had to be different vibes, like it just made sense. If you’re gonna be entertaining people through thirteen songs you have to give them different vibes. It was just very deliberate- I think that was the only deliberate thing in the whole project: the fact that I knew that they had to be different. That’s the only deliberate act. The rest was just me just making music.

NATIVE: What would you say is like the most authentic Fireboy sound? Like, if an alien dropped into earth today and you had to play them one Fireboy song, what song would you play them?

Fireboy: Ahh, that’s a tough question man! That’s tough, very tough. I think I’d play them “King”,  not because it defines my sound per se, but I feel like it’s one of my favourite songs – it’s like my top 2 out of my favourite songs. Because I wrote that song at the lowest point of my life. It was the song that I wrote, recorded, mixed myself, so I feel like there’s a really huge part of me in that song.

But in terms of my sound, I don’t know my sound, I just- I’m an afrobeats artist, but if you listen closely, you’ll realise I’m not the regular afrobeats. You might not want to really call it afrobeats like that, you might want to say ok, ‘afro RnB… soul’… So, it’s just like, more like a fusion of sounds. So, I don’t know sha. It’s afrobeats, but it’s not the regular afrobeats. So, it’s afrobeats but with more effort on lyricism, more effort on soul, it’s not just about the vibes or the instruments or the beats.

NATIVE: Well in that sense, we’re seeing more and more especially with the new generation of big stars now, who you want to dance but you also want to sit at home and listen to the music, at the end of the day. So out of this new class who are you listening to and championing?

Fireboy: To be honest, I fuck with all of them man. I’m not being diplomatic over here, I’m just being honest. I fuck with every single one of them. This generation is so blessed. Like, everyone is so talented. I love Rema, I love Joeboy, I love Oxlade – Oxlade is a close friend, we’ve been through a lot together so I’m familiar with his sound – um Oxlade, Omah Lay – everyone is doing great. The Alté scene too are doing great: Santi, Odunsi, Lady Donli, everybody. Everybody is doing great, I listen to everybody. When they have stuff out, I listen. The one I like, I like. The one I don’t like ‘okay, it’s all good’.

NATIVE: Fair, one thing about our generation is that there’s more unity across the different scene.

Fireboy: Yeah, yeah. We’ve seen how unity has made Africa achieve a lot, in a global sense, so we’re trying to achieve that – not that we came together consciously, I think it’s like an unconscious thing. An unconscious movement amongst all of us that you know what, ‘don’t let us fuck this up. Let’s just make music, change this generation and finish off what our big mummies and big daddies started’

NATIVE: So obviously a big part of your come up has been working with Olamide and YBNL. Your sound is very different to his and what we associate to the label,  how do you see that? How has he been a mentor for you?

Fireboy: Olamide is not just a rapper, he’s not just an artist, he’s a full musician. Like he understands the art and the business side of it, so that taught me a lot. He’s a full-time businessman when he is in his element, so that’s really helped me. He made it clear to me right from the jump that ‘you know what, I’m not just you CEO, I’m not just like a father figure, I’m not just a big brother, I’m also your business partner’.

He just made me feel so comfortable, he gave me a very beautiful atmosphere, so he’s really helped. Sometimes he just likes to be in the background – I think he knows that sometimes, his presence is just enough. And sometimes, it’s just words of reassurance, maybe when I’m doubting my work – cause I do that a lot, I’m a very big critic of my work – so, when he senses that the doubt is starting to creep in, he just gives me a few words of reassurance. I really ride off his confidence, and that has helped me so many times in the past and is still helping me right now.

NATIVE: On a personal level, how have things been for you? Your life must have changed so quickly since your debut album dropped, how have you handled that success? 

Fireboy: LTG changed my life, man. It was just- before it was just ‘Fireboy, Fireboy, oh bla bla oh now it’s “Jealous” ok ok’, but – changed everything, I’ve always been able to keep my head down, thanks to the mentorship of Olamide, I learned from him and followed his footsteps, even when he thinks I’m not watching. I keep my head down, I can’t like the fame- cos fame is a very fucked up spirit, it really fucks you up if you let it. So, I’ve just been keeping my head down, making more music. I’ve always been an introvert, laid-back, I’m almost a recluse [laughs].

I think I am a recluse, well not really but, you know, so it has really helped. I keep my family close, the few friends I have, keep them close. I don’t really go out much, except I’m going for shows of course. So, I feel like keeping to myself has helped me cause I’ve not been really exposed to too much. I’ve not been exposed to too much negative energy outside. I feel like that’s really helped me keep a low profile.

NATIVE: So I guess now looking forward, how far into your sophomore album are you?

Fireboy: To be honest, I think I’m done. I think it’s ready. It’s just the perfectionist side of me that’s still… y’know. I feel like I’m done… but things could change. I really need… I need this to be… I need this album to seal it. I don’t know if [that] makes sense but I need it to be perfect. Near perfect if I can.

NATIVE: And your latest single, “New York City Girl”, is it going to be on the album or just a loose track?

Fireboy: Yeah, it’s a brand-new song. I owe the fans that much, y’know, new stuff. It’s been six months since the last drop. So, brand new. it’s gonna be on the album. But, now it’s just a single and then we’ll see how it goes from there.

Featured image credits/Niyi Okeowo


ICYMI: NATIVE TIME ISSUE – TEMS, THE GIRL ON FIRE

Watch Zinoleesky in the music video for “MaPariwo”

Last year, Marlian Music’s Zinoleesky emerged as one of the exciting new voices from Nigeria’s street music scene, and his single, “Popo” confidently foreshadowed his imminent rise to mainstream acclaim. He has since gone on to make a name for himself through his impressive performance on the Naira Marley-assisted “Caro”, which gave us a good idea of his playful melodies, charming songwriting and the honeyed vocals that complete the package.

His newly released single, “MaPariwo” shows how he’s adjusting to his post-“Caro” acclaim, as he offers detailed instructions to his lover to keep their relationship lowkey; “Ma Pariwo/ I don’t want your neighbors to know my name.” Produced by Tripsss, the feet-tapping instrumentals for “MaPariwo” set a groovy backdrop for Zinoleesky’s repurposing of Wale Thomson’s classic, “Lalale Friday”.

Zinoleesky’s narration of his sexual affair infuses some English and pidgin English lyrics with the Yoruba lyrics from the original song and it’s as NSFW as you could have predicted. The music video directed by WC Films captures the raunchy imagery of Zinoleesky’s lyrics where we see him being amorous with a dancer in a room.

Watch the video for “MaPariwo” below.

 

Featured Image Credits: YouTube/Naira Marley  

[mc4wp_form id=”26074″]


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: NATIVE TIME ISSUE: Inside Life With Naira Marley

Best New Music: Rema solidifies his dominant run with new single “Woman”

We’re firm believers that good things come in threes; there are powerful trios such as The Holy Trinity, Monster Boyz, Destiny’s Child, Plantashun Boiz, The Powerpuff Girls, and most recently, Rema’s trio of hits “Ginger Me”, “Alien” and  “Woman”. Mavin’s golden boy, Rema may not be superstitious but he is definitely aware of and respects the undeniable power of three.

Last year, he released three EP’s within the space of a few months, each neatly packed with enough songs to introduce his genre-mashing qualities and formidable wordplay. Rema’s calculated decision to roll out three projects at regular intervals is just another marker of his pull on the game so early on in his career, as each release capitalised on the already growing hype for the 21-year old artist.

 

View this post on Instagram

 

A post shared by REMA (@heisrema) on

In the spirit of consistency, Rema has now served us another three-for-three this year.  Three weeks ago, he released the groovy romantic cut “Ginger Me”, which was quickly followed by the emo-trap number “Alien”. Before we had a moment to take in those two, he hit back again with “Woman”, solidifying his star-quality and landing him a musical hat-trick of some sort.

Rema has got to the point he is now without one definitive sound and this is unusual for an artist of his calibre in these parts. The way he glides so comfortably over Amapiano-inspired beat shows that he’s essentially writing is own rules, and truly redefining what Afropop means by drawing inspiration from the streets of Atlanta all the way to South Africa.

Over the groovy, drum-led beat by Ozedikuz and Altims, Rema sings about his love for all women, regardless of the way they look. He has beautiful women all over the Internet interested in him and admits how he’s enjoying the attention too much to commit to a relationship. While rumours surrounding his dating life are debated every other week on the timeline, Rema is sending a clear message with “Woman” that he’s still young with no plans to be tied down as he’s just having fun.

‘I too like woman/me I no dey gboran’ he sings, throwing in an eclectic mix of pidgin, Yoruba and his now-signature gibberish as he showers women all over the world with his love and admiration. He makes a case for the validity of poly-relationships, a type of romantic love that many in these parts may not be used to because we’ve mostly had the idea of monogamy shoved down our throats for our whole lives.

His lyrics, which he delivers with slick-tongued enthusiasm, are some of his raunchiest yet, and he details his sexual attraction for these women. Interestingly, rather than assume his attraction to them means he’s entitled to a woman’s body or time, he uses the song as an opportunity to remind people about the importance of consent. ‘If they no do, no be by force/plenty wey dey wey go concur’ he sings, offering some light-hearted advice about the importance of respecting a woman’s autonomy, and we really have no choice but to stan a respectful king.

While we’re not able to hit the clubs and dance to this catchy number, “Woman” is still the perfect song to vibe to indoors. Whether you can relate to his message or not, it’s upbeat and catchy, and that’s exactly what we all need right now. The last time we got this many releases from Rema, it resulted in new projects, and we’re now wondering whether he’s priming us for a new project. We’re ready either way.

Stream “Woman” below.

Featured image credits/TSE


Tami is somewhere dissociating. Tweet her your favourite meme @tamimak_


ICYMI: Rema embraces his trap sounds on new single “Alien”

NATIVE Exclusive: Fireboy is ready for the next level of the long game

In an industry where debut albums such as Wande Coal’s Mushin 2 Mo Hits or Wizkid’s Superstar are considered modern classics, it would be disingenuous to leave out albums which came later on in the year such as Odunsi The Engine’s rare. or Fireboy’s Laughter, Tears & Goosebumps which were game-changers in their own unique way. The 24-year-old is amongst a new vanguard of Nigerian hitmakers, who are all reinventing the game and are playing by rules written by them, changing the status quo of what kind of music to expect these days.

One thing we don’t see enough of in the Afropop scene is an artist’s entire debut album resonating with anyone who is listening,  without needing any gimmicks or extra promotional efforts. This is Fireboy’s magic trick, and having seen Afropop experience these shifts and grow from infancy to the global export it is today, Fireboy decided the scene needed his own special edge, which resulted in his debut album. 

After dominating the airwaves with “Jealous” for most of 2019, his debut album ‘Laughter Tears and Goosebumps’ came right at the end to seal his position in our hearts (and ears). You might think that it took “Jealous” popping off for him to have his time, but what we’re seeing today has been 12 years in the making. 12 years of him realising testing the waters, deciding what he wants and slowing down to just do what comes naturally – to be himself. According to Fireboy,

Now having given us a solid introduction to what he has to offer, Fireboy is playing the long game and he’s preparing for the next level. Two weeks ago, he released his first single of the year, “New York City Girl”, and is clearing the space for the release of his sophomore album. So while we wait for the project to be ready and perhaps any new teasers, we caught up with the singer about his debut album his creative process, relationship with Olamide and more.

NATIVE: So, obviously there’s a lot going on around the world. From racism to the way women are being treated here in Nigeria. Do you feel the need, as an artist, to say something about everything that’s going on in the world at the moment?

Fireboy: Ahhm to be honest, I think doing is more than saying, but saying is important in the aspect of desensitising people and using your platform to educate people. Because most Nigerians, that’s just the problem [we’re] not well-educated on those kinds of thing. But the most important thing is doing – I don’t like to talk too much, to be honest. And I think, most of my fans have noticed that I don’t really tweet much, I don’t post much, I just like to sit back and just do my thing. But when you are given a platform like this, you have to do something. So, I try my best to just make sure I do something to help, or tweet to sensitise some people and I just leave it there. I don’t say too much, I don’t have [share] too many opinions on things or issues or topics and when I need to act, like maybe make a donation to the cost, things like that, that’s my thing. I feel like doing is very important.

NATIVE: So what have you been up to during lockdown? You must miss performing right now, how does that feel?

Fireboy: Well, most importantly I’ve just been making music and working on myself more – that’s basically what I’ve been doing. It’s crazy man. At first I was actually grateful for the break, ’cause I was reaching the point I was almost breaking down, like ‘oh my God I need some time to rest’. But after like a week or two I started feeling it. I miss the stage I miss the crowd I miss the energy, I actually miss the stress. I can’t even believe I’m saying this, I actually miss the stress of travelling. But it’s all good, things will more or less go back to normal.

NATIVE: Is your live performance something you’ve been deliberately working on? Do you want to make sure your performances are at the right level?

Fireboy: I respect that performance is a thing, being good at it is actually a thing I won’t lie. I feel like for some people, it’s in-born sha, but I feel like mostly it’s something you have to grow into and work hard at as well. I don’t want to be just seen as an artist, I want to be seen as a full complete musician and being a full musician is being able to perform. With every performance, I actually learn. I learn a thing or two  I go on YouTube and actually search my favourite performance and I see like the scenes and stuff so I learn from that, but it’s not easy men.

NATIVE: Your debut project, LGT was a big fan favourite last year. What was your thought process when making the album?

Fireboy: Like I said earlier, I just want to make a difference. Like I knew that I had a lot to prove. I knew that I had to do it differently if I wanted to attain that, y’know that musician status. I didn’t just want to be seen as the random Nigerian artist that just blew up and ‘oh okay… just another guy, another random guy who blew up’. I wanted to be seen in a different light. I just thought ‘ok, how do you do it? Uhh, you’ve been dropping singles, ok fine. You had a breakout single, a follow-up single, and everybody around you is dropping EPs, so like… how do you want to make a difference? How do you want to stand out?’ [I] said, ‘you know what? I feel like I can do it.’ And yes, I did it. I’m glad it paid off.

NATIVE: It definitely stood out with so many diverse sounds across the board. Is that something you set out to do with your producers? Do you work with one producer who knows what to do when it comes to your music, or you have many different people you work with?

Fireboy: Uhh, I’m not really like that. I’m used to recording alone, working alone, but I have a few really talented producers that I work with mainly. Number one is Pheelz, the in-house producer at YBNL– that’s family. Pheelz is a genius. I enjoy working with him, we have chemistry. I also have close friends like Crako Mallo and P Prang. I think it’s just limited to that, just that limited space of producers. Mostly, just work with talented producers, they don’t have to be big or well-known.

And the vibe, the fact that the whole album was considered different genres was just mainly because I knew it was going to be just me – I had no plans of featuring anybody on that album. So I felt, you can’t put out thirteen songs without featuring anybody and bore these people out. You have to give them different vibes y’know. I knew that I was compiling an album and I knew that they all had to be different vibes, like it just made sense. If you’re gonna be entertaining people through thirteen songs you have to give them different vibes. It was just very deliberate- I think that was the only deliberate thing in the whole project: the fact that I knew that they had to be different. That’s the only deliberate act. The rest was just me just making music.

NATIVE: What would you say is like the most authentic Fireboy sound? Like, if an alien dropped into earth today and you had to play them one Fireboy song, what song would you play them?

Fireboy: Ahh, that’s a tough question man! That’s tough, very tough. I think I’d play them “King”,  not because it defines my sound per se, but I feel like it’s one of my favourite songs – it’s like my top 2 out of my favourite songs. Because I wrote that song at the lowest point of my life. It was the song that I wrote, recorded, mixed myself, so I feel like there’s a really huge part of me in that song.

But in terms of my sound, I don’t know my sound, I just- I’m an afrobeats artist, but if you listen closely, you’ll realise I’m not the regular afrobeats. You might not want to really call it afrobeats like that, you might want to say ok, ‘afro RnB… soul’… So, it’s just like, more like a fusion of sounds. So, I don’t know sha. It’s afrobeats, but it’s not the regular afrobeats. So, it’s afrobeats but with more effort on lyricism, more effort on soul, it’s not just about the vibes or the instruments or the beats.

NATIVE: Well in that sense, we’re seeing more and more especially with the new generation of big stars now, who you want to dance but you also want to sit at home and listen to the music, at the end of the day. So out of this new class who are you listening to and championing?

Fireboy: To be honest, I fuck with all of them man. I’m not being diplomatic over here, I’m just being honest. I fuck with every single one of them. This generation is so blessed. Like, everyone is so talented. I love Rema, I love Joeboy, I love Oxlade – Oxlade is a close friend, we’ve been through a lot together so I’m familiar with his sound – um Oxlade, Omah Lay – everyone is doing great. The Alté scene too are doing great: Santi, Odunsi, Lady Donli, everybody. Everybody is doing great, I listen to everybody. When they have stuff out, I listen. The one I like, I like. The one I don’t like ‘okay, it’s all good’.

NATIVE: Fair, one thing about our generation is that there’s more unity across the different scene.

Fireboy: Yeah, yeah. We’ve seen how unity has made Africa achieve a lot, in a global sense, so we’re trying to achieve that – not that we came together consciously, I think it’s like an unconscious thing. An unconscious movement amongst all of us that you know what, ‘don’t let us fuck this up. Let’s just make music, change this generation and finish off what our big mummies and big daddies started’

https://www.instagram.com/p/B4VSCFKAs4B/

NATIVE: So obviously a big part of your come up has been working with Olamide and YBNL. Your sound is very different to his and what we associate to the label,  how do you see that? How has he been a mentor for you?

Fireboy: Olamide is not just a rapper, he’s not just an artist, he’s a full musician. Like he understands the art and the business side of it, so that taught me a lot. He’s a full-time businessman when he is in his element, so that’s really helped me. He made it clear to me right from the jump that ‘you know what, I’m not just you CEO, I’m not just like a father figure, I’m not just a big brother, I’m also your business partner’.

He just made me feel so comfortable, he gave me a very beautiful atmosphere, so he’s really helped. Sometimes he just likes to be in the background – I think he knows that sometimes, his presence is just enough. And sometimes, it’s just words of reassurance, maybe when I’m doubting my work – cause I do that a lot, I’m a very big critic of my work – so, when he senses that the doubt is starting to creep in, he just gives me a few words of reassurance. I really ride off his confidence, and that has helped me so many times in the past and is still helping me right now.

NATIVE: On a personal level, how have things been for you? Your life must have changed so quickly since your debut album dropped, how have you handled that success? 

Fireboy: LTG changed my life, man. It was just- before it was just ‘Fireboy, Fireboy, oh bla bla oh now it’s “Jealous” ok ok’, but – changed everything, I’ve always been able to keep my head down, thanks to the mentorship of Olamide, I learned from him and followed his footsteps, even when he thinks I’m not watching. I keep my head down, I can’t like the fame- cos fame is a very fucked up spirit, it really fucks you up if you let it. So, I’ve just been keeping my head down, making more music. I’ve always been an introvert, laid-back, I’m almost a recluse [laughs].

I think I am a recluse, well not really but, you know, so it has really helped. I keep my family close, the few friends I have, keep them close. I don’t really go out much, except I’m going for shows of course. So, I feel like keeping to myself has helped me cause I’ve not been really exposed to too much. I’ve not been exposed to too much negative energy outside. I feel like that’s really helped me keep a low profile.

NATIVE: So I guess now looking forward, how far into your sophomore album are you?

Fireboy: To be honest, I think I’m done. I think it’s ready. It’s just the perfectionist side of me that’s still… y’know. I feel like I’m done… but things could change. I really need… I need this to be… I need this album to seal it. I don’t know if [that] makes sense but I need it to be perfect. Near perfect if I can.

NATIVE: And your latest single, “New York City Girl”, is it going to be on the album or just a loose track?

Fireboy: Yeah, it’s a brand-new song. I owe the fans that much, y’know, new stuff. It’s been six months since the last drop. So, brand new. it’s gonna be on the album. But, now it’s just a single and then we’ll see how it goes from there.

Featured image credits/TSE


ICYMI: NATIVE TIME ISSUE – TEMS, THE GIRL ON FIRE

Songs of the Day: new music from Josh2Funny, Hermez, Maya Amolo, Bris and more

It’s been almost six months of self-isolating to flatten the curve of COVID-19, and things haven’t become any easier. The one constant through these bleak times is the vast array of new music we’re getting from all our favourite artists, which definitely help make the world a bit brighter considering everything. In a bid to constantly highlight the best music from this period, we’ve scoured through the continent and selected our top picks of all the best songs released today.

Our weekend selection comprised of great new songs from DJ Tunez, Spax and Wizkid, Mayorkun and Davido, Fiokee, Simi and Oxlade, MOJO, Cheque and more. To start off the new week, we’re bringing you new music from Kenya’s Maya Amolo who just released a new EP ‘Leave Me At the Pregame’ over the weekend. We also have the latest single from Hermez, AYLØ, and Le Mav, new DJ Tunez, Josh2Funny, Bris, and many more. Enjoy.

Josh2Funny – “Don’t Leave Me”

Josh2Funny is the man of the moment. His viral challenge ‘Don’t Leave’ has gone far beyond the shores of Nigeria and is trending worldwide on TikTok and other social media channels. To capitalise further on this moment, the content creator and comedian has released a new humourous single titled “Don’t Leave Me” which features numerous more hilarious puns.

Over catchy afropop drums, he is egged on by a cheering crowd of fans requesting that he doesn’t leave them because of his talented puns that are almost never-ending. ‘I am all over the web, turn into Spider-Man/I bought my home on loan, call it home it home alone’ he sings humorously, showing just how effortless he is at coming up with these jokes.

BrisB – “2 Girls 1 Cup” featuring Fuji

To celebrate his birthday, BrisB has just released an accompanying video for his latest single “2 Girls 1 Cup”. Produced by San and Nelson, we follow Bris through a video game-like sequence where he and his friends, along with the ‘bad tings’ they encounter, star in a psychedelic universe entirely of their own making.

Over a heavily-syncopated beat, Bris raps ‘same niggas with me from time/marry jane on top, think I’m on to something’ in his signature downbeat and slightly grainy tone. The track’s hypnotic pulse soundtracks an intoxicating swirl into oblivion as Bris spits lyrics that depict his inebriated state.

Hermez – “Waves” featuring AYLØ and Le Mav

The Houston-based artist, Hermez has been on our radar since he released his sophomore project ‘Garden Spirits’ last year and we’ve been excitedly waiting for new music from the talented artist. The wait is now over as he’s just released his latest single for the year titled “Waves” and it’s everything we expected from the budding artist.

The chemistry each artist shows on the track is noteworthy, with Le Mav bringing his airy, infectious production to set the background for AYLØ’s relaxed drawl, and Hermez’ melodious voice. ‘Still with the free smoke/still living free though’ sings Hermez on the hook, as he airs a series of romantic frustrations couched by gentle pianos and a smattering of light hi-hats and percussion.

While it could be interpreted that AYLØ’s verse supported the intoxicating vices Hermez sings about (“shit too wavy/fucking on her won’t save me”), AYLØ insists that his message was one of dependencies and expectations in romantic relationships that leads to its eventual end. So whether you agree with his message or not, it’s still a great song to vibe to.

Maya Amolo – “Crashing”

Kenya’s Maya Amolo released her debut project ‘Leave Me at the Pregame’ over the weekend, and it has definitely been on replay ever since. While the New York-based Kenyan singer is still on the come up, her new single shows her immense promise and undeniable talent. On the airy standout, “Crashing”, Maya talks about overwhelming and lingering sad thoughts that have the capacity to leave you in a funk for days, weeks, and even months on end. Over acoustic strings and a catchy drum-led beat, she sings ‘The overwhelming feelings leave you blind, but give it time’ with a resolve not to drown in misery but instead urging listeners to stay afloat from the landslide of emotions coming their way.

Lous and the Yakuza – “Bon Acteur”

Being featured on a music platform like A COLORS SHOW is a memorable feat for any artist today, and we love to see more and more African artists share their music with the world via the platform. Brussels-based, Belgian-Congolese musician, Lous and the Yakuza is the lastest African artists to grace the colourful stage as she performs her new standout single “Bon Acteur”.

Over a bass-filled beat laced with vivid percussion patterns, Lous and the Yakuza raps about unreciprocated romantic relationships and being misunderstood by someone very dear to you. ‘Je pense que j’ai compris ce qui n’allait pas/
Tu voyais en moi tout ce que je n’étais pas’ (I think I understood what was wrong/You saw in me everything that I was not) she raps, detailing a past crush that has now died because it was not nurtured by her partner. Whether you speak French or not, you can’t deny Lous and the Yakuza’s slick-tongued, gruff rapping style that keeps us coming back for more.

Featured image credits/Instagram


Tami is somewhere dissociating. Send her your favourite meme @tamimak_


ICYMI: Here’s all the new releases from Last Friday