Blinky Bill is a savant of the avant. Since the late 2000s, the Kenyan artist and producer has gained a rep for being authentic, creating with very little reverence for norms or trends. As a foundational tone-setter for the eventual arrival of Nu Nairobi, a loose community of artists who champion expression that’s alternate to the mainstream, Blinky’s bonafides are sealed, especially buoyed by a formidable solo catalogue since the much beloved, seminal group, Just A Band, dispersed—and reassembled in 2022.
In late January, Blinky Bill released ‘We Cut Keys 2’, his first project release in over five years and the sequel to his debut project, ‘We Cut Keys While You Wait’. The new album is a semi-sprawling 16-song set where Blinky jams in a truckload of viscerally exciting music ideas, roaming across jazzy keys, pounding electronic bass, funky guitar riffs, and traditionally-inspired rhythms. As with all of his albums, there are lyrical moments driven by profundity, fitting for an artist who’s adept at exploring personal concern with an accessible, everyman’s rapper finesse.
At that, what really elevates ‘We Cut Keys 2’ is that it feels like the most fun album Blinky Bill has made till date. As exciting as the genre-blurring swings on his previous two projects were, there’s a lot more assuredness to the music here, even when his inspiration ventures further than anything he’s done before. Lodged in the lower middle part of the album is “Boss,” a rollicking banger that repurposes the rustic groove of traditional Luo music. The result is a swaggering rap banger with a distinctly Kenyan and East African core.
The first thing that meets listeners’ ears on “Boss” are thick low end drums, all pounding bass and no snare, accented by handclaps and what sounds like a glinting triangle sample. It doesn’t take long for the song to get fuller, with the addition of local drums and a central Benga guitar riff. It’s a musical carnival, where the old informs the new, where the urban is rooted in the pure charm of heritage. Even though the ethos is very familiar in current Afropop, it’s nothing like I’ve ever heard, and that will probably be the same for many listeners.
Blinky Bill doesn’t complicate things with his raps, “Boss” is a celebration of self and declaration of reverence of the culture and music that came before him. “They need to know I’m a champion,” Blinky coolly asserts in a sing-rap cadence, segueing into a hook that repeats the song’s title with an infectious stomp. As for reverence, it’s in the performance as much as it is in the music. Amongst one of the more thoughtful guests, early 2000s Kenyan rap icon Maji Maji, of the seminal duo GidiGidi MajiMaji, delivers an energetic verse, with his grizzled chants floating over a section of the arrangement stripped of the pounding.
Rounding out the song are the yelped adlibs by another Kenyan music legend Melkizedo, making the union of old and new feel even fuller. On an album with over a dozen guests, including American rapper Goldlink and British-Ghanaian artist Fuse ODG, Blinky Bill hits a novel, incredibly rewarding note with “Boss.”
Following the global breakthrough of “Water” Tyla engaged in several interviews, some of which she shared details of making the Sammy Soso-produced track. The superstar, in one of such appearances, cited Aaliyah’s iconic single “Rock The Boat” as one of her inspirations. Tyla explained that while the song was heavily sex-themed, it was, more than anything, a fun song people of various ages and backgrounds can enjoy. It is only upon listening closely that you hear the brazenly expressed desires behind the tracks’ lush chords.
In many ways, Tyla’s “Water” is the same. But zooming the lenses even closer, Tyla’s effortless style, charming personality, hit-making lyrical recipes and instantly recognisable chords perfectly align with global phenomenons and contemporary R&B/pop stars like Aaliyah. In Tyla’s case however, we have a South African crooner drawing inspiration from her African roots, rightfully earning her a series of viral moments and now, the title of the inaugural winner of the Best African Music Performance category at the Grammys.
Per the new category announcements back in June 2023, Tyla made several memorable appearances across world stages to perform her chart-topping single, gracefully supported by the song’s virality on TikTok. Her effortless starpower and hypnotic dance moves sold millions of music lovers across the globe, who joined her with the #TylaWater and #TylaWaterChallengevideos. The dance challenge to “Water” existed on the territory of a major South African dance genre, Bacardi which holds heavy ties to Amapiano. “Usually, this dance style is not paired with this type of music, but I felt it would fit so well,” she said in an interview.
By the time the nominations were announced in November, the song had already accomplished numerous feats across local and international charts, including the Billboard Hot 100, making her an obvious shoe-in for the category. She took home the gold, sitting amongst a stellar class including Burna Boy’s “City Boys,”Asake and Olamide’s “Amapiano,” Davido’s “UNAVAILABLE” ft Musa Keys and finally, with the only other woman in the category, Ayra Starr for “Rush.” In her acceptance speech, she shared
“Last year, God decided to change my whole life So thank you so much to God, my team, my family. I know my mother is crying somewhere in here. Thank you to the Recording Academy for this category, it’s so important.”
While this is her first nomination and win, Tyla is not new to viral moments soundtracked by a distinct and vibrant melting pot of her diverse sounds which draw influence from contemporary R&B, pop, Amapiano and more. As much as these songs did not travel at the scale or with the speed of “Water,” tracks like “Overdue” and Kooldrink-assisted “Getting Late” share equally viral moments, at the time, cementing Tyla as a star on the brink of breakthrough. If the heart-thumping log drums and twinkling keys of “Getting Late” didn’t draw your attention to Tyla’s pending entrance into the spotlight, then the emotional-laden heartbreak story of “To Last” was sure to clear any doubts that Tyla has been preparing for the moment since the start of her career.
Tyla has since peeled back more layers of her charm, backed by several contributions that thread her seamlessly into the ever-expanding scope of Afropop. She released a 5-track self-titled EP, stacked with a “Water – Remix,” assisted by Travis Scott and soothing R&B leaning numbers that reaffirm Tyla as the lovergirl she proudly established herself as. On “Truth or Dare” she tells a chilling story characterised by the toxic back and forth of modern romance. She openly calls out a former love interest attempting to spin the block now that she’s gained some fame and success, “Message received, oh, now you want me back?/I know the procedure, tryna come to my place.” She unapologetically calls him a fan, daring him to reminisce on all the times he did her wrong.
This moment is undeniably special. At only 22, she’s not only the youngest South African to win but Tyla’s the youngest female African to earn a nomination and win in the award’s history. This win has not only shed a burning light on her own potential, positioning her for more outstanding accomplishments in the future, it has opened doors for the rising generation of female music superstars from Africa. With building blocks of what promises to be exceptional years ahead, Tyla’s magical moment is only a sliver of what we can expect from the women of Afropop’s domineering scene.
For many Africans, the 66th Grammys, scheduled to be held next Sunday, is a better representation of Afropop’s standing within the wider scope of global music. There’s an all-new category, over a dozen artists are nominated beyond the Global categories, and it’s just an indication that our music isn’t just being heard and played in the biggest places, it’s also worthy of the highest honours. Ahead of the ceremonies, here are six important highlights we’ll be paying close attention to during the premiere show and televised event in the Crypto.com arena.
The Grammys introduce ‘Best African Music Performance’ Category
Noms: Asake and Olamide – “Amapiano,” Burna Boy – “City Boys,” Ayra Starr – “Rush,” Tyla – “Water” & Davido ft Musa Keys – “UNAVAILABLE.”
Back in June 2023, the Recording Academy unveiled three new categories for the 2024 ceremony and one category generated a significant amount of buzz—with good reason. The Best African Music Performance category, according to the board, is set to feature a slew of ‘local expressions’ including Amapiano, Fuji, Ghanaian Drill, Alternative music and so on. This introduction is meant to be a not-so-silent nod at the sold out stadium tours, outstanding break-out runs, unbelievable streaming numbers, record breaking tours and remarkable cross-continental collaborations emanating from these parts. At home and beyond, Afropop veterans and newcomers are championing fresh and innovative sounds not only contributing but dominating worldwide music conversations.
It is for this reason, amongst others, that a category for Best African Music Performance comes off as lazy and ambiguous, lumping a continent with rich and diverse sounds under one nomination slot. This isn’t untrue but that also doesn’t mean the category comes with no benefit whatsoever. This season always springs up conversations regarding the validity of these ceremonies and why the award system is outdated and almost irrelevant, particularly when deserving recipients fail to gain recognition. But it is important to take into account the windows of opportunity these accreditation systems provide, beyond one’s name engraved on a gold gramophone statuette.
Burna Boy – “Alone”, “Sittin’ On Top Of The World”, City Boys”, ‘I Told Them…’ Davido – “Unavailable”, “Feel”, ‘Timeless’ Asake & Olamide – “Amapiano” Ayra Starr – “Rush” Tems – “Lift Me Up”
Noms: Best African Music Performance – Asake and Olamide for “Amapiano”
For most of the 2010s, Olamide was the most consistent hit-maker in Nigerian music. Where all of the proverbial Big Three had their lulls in that period, Olamide had the streets of Lagos and the entire southwest region on lock, and that dominance reverberated throughout Nigeria and even spilled over to the rest of the continent. At that, there was chatter that primarily rapping Yoruba and being overly tethered to the grit of the streets limited his impact in pushing Nigerian music to a wider, global audience.
Well, the man is now a Grammy-nominated artist, on a song he co-headlines with the biggest artist he’s signed to his YBNL label till date. Asake is a much different artist to the man who helped barrel into the Nigerian pop mainstream, but there’s a deep musical and spiritual kinship that ties his ongoing successes to the feats Olamide achieved at his peak. “Amapiano,” the song they’re both nominated for, is easily one of the best party-ready songs of this decade already, even if you roll your eyes at its title and the kind of appropriation it stands for. Right now, though, what’s most immediate is the additional validation this nomination provides. Olamide’s legacy is already sealed, now it deserves to be even more gilded than before. As the man declares, “Streets shi wa in charge.”
It’s Davido’s time… finally
Noms: Best African Music Performance – “UNAVAILABLE,”Best Global Music Performance – “FEEL” &Best Global Music Album ‘Timeless.’
After over a decade in the music industry, Davido is finally getting his well-deserved recognition at the highest highs, with three big nominations. All conversations surrounding the Big 3 in Nigerian Pop have never left out Davido’s name and with good reason. He has remained a consistent force propelling the ropes of African music well beyond its borders with a series of monster singles, peerless collaborations and stage performances across the world. The moment is all the more special considering his nominations are for an album birth by a grief-induced hiatus. The 6-month absence, tagged by his absence from social media, marked the first time the singer drifted away from the limelight after becoming an unwavering persona in Afropop from his momentous introduction to the scene with “Dami Duro.” In a heartfelt tweet, post the announcement made in the earlier parts of November, Davido says “3 nominations at the Grammys!! Delay is not Denial!!,” perfectly encapsulating the feelings running through his fans across the world, who’d been watching the superstar since his debut.
3 nominations at the Grammys!! Delay is not Denial!! 🏆🌎
Noms: Best African Music Performance – “City Boys,” Best Melodic Rap Performance – “Sittin’ On Top Of The World,” Best Global Music Album – ‘I Told Them…’ & Best Global Music Performance – “Alone”
“I know say one day e go better/I go carry Grammy,” Burna Boy sang on the eponymous intro to his fourth studio album, ‘African Giant’. That was nearly five years ago. Burna has won the Grammy he so dearly coveted at the time but he hasn’t let up, broadening the scope of his music even further and being just as productive as the initial 3-album run that brought him to international popularity. At this year’s Grammys, he’s nominated four times, a record-setting feat for Afropop.
In addition to nods in the two Global music categories and the new Best African Music Performance category, he’s nominated for Best Melodic Rap Performance, for “Sittin’ on Top of the World” with British-American rap artist 21 Savage. The latter nod is significant for its consideration in one of the more mainstream categories, perhaps a fringe indicator that African artists can make music that will simply not be shunted to “Global” and “African” sides at future Grammys. Regardless of the outcome of his nods, Burna’s bar-setting, ambassadorial role will be made even more undeniable by his performance at the awards show itself, an upgrade from his telecast performance back in 2021.
Being on-stage at the Grammys might even be beyond what Burna Boy envisaged for himself when he simply hoped for one gramophone, but his unbendable self-belief, to the point of narcissism, is a huge part of what keeps on elevating his mythos.
‘Black Panther: Wakanda Forever’ Widens the Playing Field
Noms: Best Song Written For Visual Media – “Lift Me Up,” Best Compilation Soundtrack for Visual Media & Best Score Soundtrack For Visual Media – ‘Black Panther: Wakanda Forever – Music From And Inpsired By’.
In creating the music for ‘Black Panther: Wakanda Forever’, returning director and composer, Ryan Coogler and Ludwig Goransson, visited Lagos to collaborate with Nigerian artists and musicians. On the final soundtrack, the “music from and inspired by” compilation, eleven African artists are primary contributors, including five South Africans and six Nigerians. (To up the tally, you can add British-Ghanaian rap artist Stormzy and American-Nigerian rapper Tobe Nwigwe.) All of them are up for a Grammy, as the project is nominated in the Best Compilation Soundtrack for Visual Media category.
In addition to this group nod, Tems’ contribution to Rihanna’s “Lift Me Up” snags her another nomination in the Best Song Written for Visual Media category, while Burna Boy’s emotionally resonant “Alone” is up for Best Global Music Performance. For artists like Bloody Civilian, DBN Gogo, Kamo Mphela, and more, who are scoring their first nod, it’s a heart-warming achievement regardless of Sunday night’s outcome. A win, though, would widen the number of African artists who are Grammy winners—which is always welcome.
Make room for the IT Girls, Tyla and Ayra Starr.
Noms: Best African Music Performance – Tyla for “Water” and Ayra Starr for “Rush.”
After decades of women being sidelined from major Afropop conversations even on home turf, well-deserved recognition can hardly go unnoticed. The consistent efforts of Sho Madjozi, Yemi Alade, Tiwa Savage, Angelique Kidjo, Fatoumata Diawara and others—who are just now enjoying a semblance of a level playing field as global stars—says a lot. Their relentless efforts and peerless stardom have ushered in acts like Ayra Starr and Tyla, who are now afforded shots at a lasting legacy so early on in their career.
As much as the nominations, regardless of a win or lack thereof cement these stars as the youngest female acts from their respective countries to gain global recognition, the best part lies in the message behind the tracks. Women across the globe are not new being policed and playing by the confines of performative respectability politics. So when “Water,” a song that brazenly expresses sexual desires and“Rush,” a melody stacked with cheeky yet assertive proclamations of generational greatness, earns a nomination, it is worth an acknowledgment. More than being recognised for being some of the most consistent hit makers of this generation, we’re more than excited to see women finally playing ball and on their own terms at that.
Giannis Antetokounmpo, the 6’11” NBA superstar, is in a hurdle surrounded by a pack of kids who barely reach up to his waist. “1! 2! 3!” he intones, “NBA!!!” the kids scream back at him. Giannis has rang out many hurdle breaks, probably hundreds, but this is one of those he most likely won’t forget—ever.
According to lore, Rowe Park in Yaba, is where the iconic basketball player and 2-time NBA MVP Hakeem Olajuwon was discovered. Over four decades later, there was Giannis, visiting the court, himself already an iconic basketball player and 2-time NBA MVP. It was a pilgrimage, it was also a homecoming. To even the most casual basketball fan and NBA follower, it is well-known that Giannis is also referred to as the Greek Freak. That nickname stuck really quickly because it fit so perfectly for an uber-athletic player whose primary features when he got into the NBA were his gangly, flailing limbs.
These kids playing basketball with @Giannis_An34 in Rowe Park, Lagos, Nigeria is the best thing you’ll see on the internet today!!
Simply amazing.
For context, Rowe Park is where Hakeem Olajuwon @DR34M was discovered
These days, the build is much different. A network of muscles from shoulders to toes that culminate in one of the most imposing physical figures in basketball history. He might as well be fashioned after a Greek god, or be referred to as one—even the brawny jawline suggests as much—but trademarks are premium, and Greek Freak is synonymous to the Giannis brand. Also essential is his Nigerian heritage, something Giannis has emphasised on a narrative level, shown in the biopic film ‘Rise’ and the WhatsApp-partnered short film, ‘Naija Odyssey’, and even in a design for his signature shoe line. These portrayals and discussions often centred on identity, the need for people to understand that “I like being the Greek Freak but I’m also a Nigerian Freak.”
As far as the visual representations of Giannis’ relationship with being Nigerian, the recent mini-documentary, ‘Ugo: A Homecoming Story’, is the most visceral one yet. “When I close my eyes, I can see Nigeria, even though I’ve never been there,” Giannis narrated on ‘Naija Odyssey’ while an Afro-funk arrangement played underneath. For several days in the summer of 2023, he didn’t need to close eyes and imagine, or rely on memories from his childhood and anecdotes from his parents. Along with his mum, Veronica, Ugo visited his parents’ birthplace and the country of their youth, for the first time ever.
The most obvious qualifying term for ‘Ugo’—also a collaboration with WhatsApp—is heart-warming, which shouldn’t be surprising considering the man himself. In the NBA, Giannis is known for his dominance, a battering ram who asserts his will by sheer force and unbendable will. He’s the type of player opposing teams build a wall against, because of how he easily obliterates single coverages and can barrel through multiple defenders on his way to scoring at the rim. The combination of his freakish abilities and an ultra-competitive drive makes him one of the more intimidating and intense players at the highest levels of basketball. It’s quite different off the floor, though. Ugo has shown himself to be incredibly jovial, the type of guy who amuses himself and wants to amuse everyone else with dad jokes.
A day after becoming an NBA champion, Giannis went to a Chick-Fil-A drive-through and ordered 50-piece nuggets, an obvious, fun reference to scoring 50 points in the closeout game of the finals series. Everyone is happy when they win but it takes a level of joy and levity to be that effortlessly endearing. After all, this is the guy who pokes fun at himself for being a not-so-good 3-point shooter. He’s also the kind of player that would try to rationalise being upset by a series loss because failure is relative but resilience is absolute. Joy and resilience, two things that are incredibly Nigerian.
In ‘Ugo’, several of the featured interviewees reinforce the trope of Nigerians being perennial seekers of happiness, and working really hard is sewn into wanting better for ourselves. In relation to the ‘Japaing’ era especially, that’s Giannis’ story, a son of two illegal immigrants who were both national sportsmen but moved in search of a better life, to an entirely new country where their family surname—Adetokunbo—was drastically altered. Basketball provided an opportunity for several of the Antetokounmpo brothers to create a better life for their family, and Giannis ran with it. By his sixth and seventh seasons, he had become the NBA’s Most Valuable Player for two years in a row. He finally won the coveted championship chip in his eight, stacking a highlight of all-time NBA Finals plays.
Three years later, Giannis has explicitly stated that he’s hungry for more success. Part of that also stems from legacy considerations, and that applies away from basketball too. ‘Ugo’ is about touching your roots, going one giant step further than repeatedly acknowledging the spiritual origins of your traits and person even. The excitement on Giannis’ face is front and centre of the documentary. Arguably its most wholesome is an early sequence where Ugo spots a counterfeit Giannis jersey and goes to buy it, even haggling with the seller just because, you know, he’s Nigerian. Haggling is one of the things we do.
The rest of the documentary follows a laid out itinerary that makes sense from a cultural immersion standpoint: Going to watch surfers at Tarkwa Bay, a landmark area in Lagos despite recent displacement acts by the government; swinging by Rowe Park to surprise young hoopers; the Afrikan Shrine, a foundational spot for Nigerian music; and buying fish at the seaport market in preparation for a dinner prepared by a celebrated chef. There’s the trademark Giannis vigour in every conversation, and seeing him revel in the warmth of seeing extended family for the first time might as well melt your heart.
‘Ugo’ is worthwhile for seeing Ugo soak in all this experience. Where it gets compelling is in its depth, with Giannis bringing viewers into his own identity. Where ‘Naija Odyssey’ could veer into Meta and get unwieldy in defining its central person, there’s a more accessible approach to ‘Ugo’ that allows Ugo speak more spontaneously, as opposed to being heavily scripted. Around the lower middle part of the mini-doc, Giannis explains how he’s slightly more familiar with the Igbo side of his heritage, through a closer relationship with his mother, even though his Yoruba father disapproved.
The importance of Igbo people handing down their language, culture and practices to their offspring is not lost on anyone who understands the weight of the civil war in Eastern Nigeria back in the late 1960s. Already, there have been incredibly stupid tribalistic comments online, a holdover of the gross events and propaganda from the last election, with some being angry at Giannis for being more familiar with his Igbo heritage, regardless of how he’s never disparaged being Yoruba. During his visit, revered fashion house ALARA Lagos created custom traditional for Ugo and his mother Veronica, blending both his Yoruba and Igbo heritage into distinctly beautiful pieces.
“I know I am Nigerian but you gotta go back,” Giannis says near the very end of ‘Ugo’. “It allowed me to understand better who I am and what kind of person I want to be, what kind of son, what kind of husband, what kind of father I want to be.” It’s a profound encapsulation of what we already saw on screen in the prior 25-plus minutes. There are many things Giannis Ugo Antetokounmpo will never forget about his first time coming to Nigeria.
Primarily because they’ve become a symbol of civil antipathy towards authority, there’s a general shrug when the Nigeria Police Force is strongly against something. In this case, it’s a viral social media parlance that’s now been adopted as a widespread mantra. About two weeks ago, The Nigerian Police force spokesperson held a press briefing to state that ‘No gree for anybody’ is a threat to national security. “No gree for anybody has been seen as normal talk, but in the security business and the security community, we have seen it as a dangerous slogan that can trigger crisis,”Muyiwa Adejobi said.
Yeah, right.
Not to make this about the Nigerian Police, an institution that’s definitely not a friend to the vast portion of Nigerian youth, but its stance can be classified as further validation for the “dangerous slogan.” In a time where insecurity keeps hitting alarming highs, with entire communities being attacked by terrorists and kidnappers even breaking into homes to abduct entire families, it’s disturbing that words, with incredibly clear meaning, got the attention of the institution that should be serving and protecting human lives.
My cartoon today: NO GREE FOR ANYBODY Is this another case of misplaced priority? 🤷🏽♂️ pic.twitter.com/o8S0MPFZnl
The exact origin point of “No gree for anybody” is somewhat hazy, but it generally caught on during December, last year. As with many things, it was amplified on TikTok, where random videos of people fighting went viral, with the catchphrase as the tag for these videos. In one of the videos I saw first, a woman who’s hawking her goods in traffic pulls a passenger down from the bus and the duo slug it out on red clay. What kick-started the fight was unclear, but the passenger had hit the trader, and because the cars were parked in standstill traffic, she decided to dish out some get-back, plus more.
The context of “No gree for anybody” is simple: Stand up for yourself. Opening 2024, it has carried over and has been adopted as a mantra for wanting more and wanting better. Not ‘greeing’ means doing whatever is necessary to achieve set personal goals for the year, even if that means the anybody is yourself. As people have applied it to the annual resolutions conversations, there have been tweets like “No gree for yourself,” with respect to complacency and procrastination. As a resolve, it’s has the same galvanising yet jovial force of slangs like “Standing on bidness” and “Keeping it 100.”
Just beyond the immediacy of its personal context, the mantra also has its wider importance, in response to the conditions of Nigeria’s ailing economy and general social issues. Over a week ago, the National Bureau of Statistics (NBS) reported that headline inflation for December 2023 hit 28.92%, and food inflation rose to 33.9%, both significantly worse numbers compared to a year ago.
Generally, the mood is sour, with the aforementioned insecurity woes being a prominent theme, and a social infrastructure that doesn’t elevate the quality of life for everyday Nigerians. Electricity supply has become worse, the price of petrol has reached historic highs, transportation has gotten more expensive without being more efficient, and for many there’s lack of faith in the federal administration that entered office following last year’s controversial elections. All of this, plus more, has pushed Nigerians into high alert mode, where survival is essential, however, we also want to find pockets of joy without our actual pockets drying up.
“No gree for anybody” is a self-serving mantra in service of the difficult times we find ourselves in. There’s always been a prevailing theory that Nigerians often look out for ourselves first, many times at the expense of others—this slogan might as well be evidence. But it always bears mentioning that it’s in response to the times, desperate times warrant desperate measures and other similar sentiments. Perhaps, the positive part is that the generally agreed measures that align with “No gree for anybody” means Nigerians, especially the youth, are doubling down on working hard and working smart. It’s not like there are any other viable options, earning more (as a lazy Nigerian youth no less) is a necessity.
No one is going to define Nigerians as altruistic but, even in our prescribed self-absorbedness, there’s a communal aspect to our lives that’s been amplified in bracing moments, from the EndSARS protests, to the crowdfunding for victims and survivors of insecurity attacks, and even a woman and her family’s life changing overnight. (For the latter, let’s save the discussion about broke-shaming and fragile male egos for another day.) These instances would make it disingenuous to reduce “No gree for anybody” into a clarion call for selfishness. The fact that it was unanimously agreed upon speaks to the dynamism of the Nigerian experience.
It feels apt to end on the addendum: “You wan gree? If you like, gree!”
December in Lagos is always chaotic. Fun, yes. But the chaos comes with the package. Most of it is always centred on the many, many concerts, festivals, parties, live events, and influx of people that the period comes with. In this moment, the gears of entertainment and pop culture turns from the daily grind and focuses on these happenings, but that doesn’t mean new, fascinating events aren’t feeding the timeline with stuff to discuss. The past month-plus had more than its fair share of cultural moments, which The NATIVE’s editorial team was out of office for – due to our festival NATIVELAND. Here’s a quick recap of some of the headlines that kept December 2023 and early 2024 going.
The Davido & Wizkid Bromance Reaches a New High at ‘Even With SkylaTylaa’
Amidst all of the tiffs and controversies they’ve been central to, there isn’t any bromance in Nigerian pop quite like Wizkid and Davido’s current relationship. The consuming embers of rivalry have seemingly cooled off for years, dating back to Davido stating that the pair had embraced maturity in his 2018 cover story with The NATIVE. During the Detty December festivities in Lagos, both artists reunited at The Good Village for a great party time at ‘Even With Skyla Tyla’.
The daytime party, headlined by renowned British DJ SkylaTylaa, who’s sisters with music executive and Wizkid manager Jada Pollock, saw Davido pull up with members of his 30BG crew, as well as Nigerian rap artist (and “IDK” collaborator) Zlatan. Clips of the superstars from the party, featuring Davido’s trademark exuberance and Wizkid’s chill aura, populated social media. It might be trivial to some, but it was a heartwarming moment that reinforced how far past they’re beyond the toxicity of the past. Maybe, it’s time their respective Stans follow suit.
During the Detty SZN, you could count the number of artists as hot as Shallipopi on one hand and not exhaust those five fingers. The Benin-raised artist was everywhere, from Dvpper Digital’s ‘Trench Fest’ to NATIVELAND 2023. Every time, he’d saunter on stage and scream “PLUTOMANIA!!” to an even more raucous crowd reception. In clubs and pretty much everywhere you went, the Odumodu-assisted “Cast” rang off, and it was emblematic of the star power he wielded throughout the festive period.
In addition to cameo and feature appearances on ensemble festival and concert line-ups, Shalli headlined his own concerts in Lagos and Benin, Edo State. The homecoming concert was a watershed moment, one where the melodic rapper was joined on stage by his mother—this is after a video of him going to see his mother at home went viral online. In addition to that, Shalli was joined by his brother and fellow artist Zerry DL for an emotional moment, where both of them performed the hit song “Puff & Pass (Remix)” with tears of joy streaming down their faces. There’s a reason why tears fly into the wind during rollercoaster rides.
Prime Video’s ‘Breath of Life’ Elicits Warm Reception
For nearly two years now, Amazon’s Prime Video has been looking for ways to better imprint its presence on Nigerian cinephiles and the general public. 2023 was arguably the streamer’s most fruitful year in Nollywood yet, unveiling ‘Gangs of Lagos’ as its first commissioned film and acquiring showing rights to dozens of films, including the Nigerian cinema blockbusters, ‘Battle on Buka Street’ and ‘King of Thieves’. To close out the year, Prime Video finally released the much teased BB Sasore original, ‘Breath of Life’. Part of the exclusive deal Sasore and Nemsia studio signed with Prime, the December 15th-released film is a faith-based story set in 1960s Nigeria.
It stars Wale Ojo, Eku Edewor and Ademola Adedoyin in lead roles. Within days of its release on Prime Video, social media was filled with opinions, mostly positive, especially concerning the film’s affecting themes. ‘Breath of Life’ also rocketed up the Prime Video charts in at least 11 countries, claiming top spots in Nigeria and Ghana. Just yesterday, January 18, Prime announced that it will be cutting down investments in Africa and the Middle East, a sign that it will be restricting its operations to acquisition of films in these regions. If that’s the case, ‘Breath of Life’ can at least be acquitted as a well-received film amongst the definitely short roster of Prime originals in Nollywood.
KENDRICK LAMAR HEADLINES CONCERT IN RWANDA
In 2022, Compton-born rapper Kendrick Lamar traveled to Ghana amidst the roll out for a new album that was feverishly anticipated for years prior to its release. It was culturally significant that the Best rap artist of his generation was on the continent at such a personally momentous time, extending his relationship with the continent. Last December, the Pulitzer winner headlined a concert at the BK Arena in Kigali, Rwanda, for Move Afrika. The concert, which had Rwandan president Paul Kagame in attendance and on stage for a bit, was held in celebration of African music and unity, with opening performances by local superstar Bruce Melodie and popular Tanzanian singer Zuchu. Kendrick’s set, which lasted well over an hour, held the 8,000 concertgoers in awe of his showmanship. It’s not just another casual flex of his greatness, it also shows that African live shows and festivals are attracting the biggest names in music.
ODUMODUBLVCK and Shallipopi perform “Cast” for the first time at NATIVELAND ‘23
After a long morning of waiting, an outsider wouldn’t have guessed that it was almost past 6am when the pair of 2023 breakout stars, Shallipopi and ODUMODUBLVCK, united on stage for the most anticipated performance of NATIVELAND ‘23. A few moments before, Bloody Civilian had joined the NATIVE Records signee for a memorable rendition of an ‘EZIOKWU’ favourite, “BLOOD ON THE DANCE FLOOR.”Switching up from the calm atmosphere, the self acclaimed pluto presido brought life to the crowd chanting the duo’s collab song, “Cast,” word for word, which many would consider the song for Detty December in Lagos. The pair’s effortless bromance shone through clearly as they drifted back and forth along the high-tempo Ampaino-tinged rhythm with a beautiful firework display to close out the night on a raucous high.
Funke Akindele Sets a New Nollywood Record With ‘A Tribe Called Judah’
Funke Akindele has figured out the art and business of dropping holiday film blockbusters. For her latest bar-setting feat, the filmmaker released her new film, ‘A Tribe Called Judah’, to huge fanfare. Coming in a year after ‘Battle on Buka Street’ quickly became a runaway box office hit, this new film packed out theatres across Nigeria right from its debut screening date of December 15th. Even more gratifying is that the film has been well-received for being an action-comedy caper that weaves in familial themes to its core. To open the year, it was announced that ‘A Tribe Called Judah’ has become the first Nigerian film to hit the 1 billion naira revenue threshold, a landmark accomplishment for Funke Akindele, a leading woman in Nollywood who’s used to breaking and setting new records.
BRAZY’S ELECTRIC PERFORMANCE AT NATIVELAND ‘23
Post her breakout hit song, “Attends,” Brazy has slowly cultivated a fanbase with a steady stream of refreshing content in her usual fashion. Alongside new releases like Kelela’s “Closure” or her breezy December single, “Daddy,”Brazy has since appeared on a slew of stages across the world including opening for Ayra Starr at Koko, London. Last December, she took on her biggest stage yet – NATIVELAND ‘23 – with soul stirring vocal renditions accompanied by her enthralling dance moves and masterful mixing. She opened up her set with crowd favourite “Attends,” sustaining the crowd’s momentum after a buzzing performance by South Africa’s Uncle Waffles. However, she really got the crowd buzzing when she introduced her dance-rap fusions of “omg”with the iconic single “Azonto,” taking us all the way back 2014.
Like many of his colleagues, Burna Boy was in Lagos in December. Unlike many, he barely performed at public events. Perhaps it was the best thing for everyone, considering the debacle of his last Lagos headline show in early 2023, where he came on stage six hours after the show was billed to start, and started off by cussing out the crowd before performing one song. At that, it’s undeniable that Burna is one of the best performers working in global pop music. For a brief cameo, street pop superstar Seyi Vibez brought out the singer at his Lagos headline concert in December, and Burna proceeded to turn things up with a performance of the stomping banger, “City Boys.” In the video clips that quickly went viral, you can hear the crowd ripping its collective voice to match Burna’s electric energy, another indicator that the Port Harcourt-raised phenom will always be loved at home—regardless of what he thinks.
Seyi Vibez brought out Burna Boy at his sold out concert today at Eko Hotel.
Pop culture finds some of its best slangs from stuff that’s uttered mundanely. Obviously, it has to be latently funny, and that’s pretty much the case with the now infamous Rahman Jago quip: “You look like Metro too much.” That iconic, incredibly hilarious moment came while Jago, a respected high fashion connoisseur, was in the presence of Roddy Ricch, the American rap artist who was in Lagos for a concert appearance. While telling Roddy about how much he loved the artist’s official debut album, ‘Please Excuse Me for being Antisocial’, Jago turned to one of the rapper’s associates and let him know that he looked a lot like the American super-producer Metro Boomin’. The associate mean-mugged, some people captured in the video giggled, Nigerian twitter collectively laughed and turned the moment into a meme, and Metro Boomin’ joined in on the raucous fun. Throughout December, a lot of people looked into their mirrors to make sure that they didn’t (or maybe did) look like Metro too much.
On the evening of Tuesday, Jan. 16, a deadly blast occurred in Bodija, a suburban area of Ibadan, the capital city of Oyo State. The blast, which happened around 7:45PM local time, originated on Adeyi street and its effects spanned across a 14 KM radius. According to Oyo State Governor, Seyi Makinde, preliminary investigations have revealed that the fatal event was caused by explosive devices that had been stored by illegal miners.
The blast destroyed several buildings within its epicentre, reportedly sinking two houses. Cars around were also destroyed beyond repair. In the wider radius, people’s homes and properties were badly damaged. So far, five people have been reported dead, and 77 people have been hospitalised for varying grades of injuries. Since the night of the blast, rescue workers, led by the National Emergency Management Agency, have been searching for survivors in and around the affected areas, pulling out several people trapped under the rubble. Also, hundreds have been displaced from their homes, with houses needing to be rebuilt and renovated.
Joining first responders and concerned citizens shortly after the blast, Governor Makinde has ordered that displaced individuals and families are to be temporarily sheltered in hotels, and will be assisted by the Oyo state government as they recover and rebuild their lives. Of the people in hospitals, 60 people have been discharged so far, with hopes that the other injured persons will make full recoveries. Also, in his public statement on Wednesday morning, Makinde has stated that finding the person(s) who stored the illegal mining equipment is a top priority for the state government and security agencies.
Speaking from Ibadan on the Channels TV program, Politics Today, Makinde stated that nothing will be covered from the public during these investigations. “We’ve done a few fact-finding on the company involved and yes, there are indeed some foreign names on the CAC [Corporate Affairs Commission] documents of the company involved but these are still early days,” he said. The Nigerian police have declared the owners of the house wanted, while the Miners Association of Nigeria (MAN) have stated that the mining company allegedly responsible for the blast is not a registered member of the body.
Since the turn of the millennium, Plateau state has been beset by fatal bouts of insecurity, leading to the killings of thousands and injuries to many more. Dating all the way back to the deeply saddening Jos riots of 2001, the central Northern/middle belt state has dealt with several conflicts, many of them reportedly centred on religious tensions. Amidst last year’s Christmas festivities, armed groups killed over 100 people, injured and displaced many more across three local government areas in the state.
According to reports, the fatal attacks began in the evening of Saturday, 23rd December, and lasted untill the early hours of Christmas morning. Initially, local authorities stated that 16 people had been killed in the attacks, before the numbers were reported to be more than 113 people. Addressing the press just in the aftermath of the attacks, Monday Kassah, head of the local government in Bokkos, said the attacks were “well-coordinated” and they happened across “not fewer than 20 different communities.”
With rural communities making up the grounds of these attacks, analysts have pointed at climate conditions as a core cause of the attacks, noting that farmer-herder clashes have been frequent in the region, owing to locals seeking to protect their farmlands at a time where fertile lands are decreasing. The local community have also claimed that ethnoreligious motivations play a huge role in fulani, muslim herdsmen attacking local, predominantly christian communities. In survivor accounts, the herdsmen – or bandits as they’re often referred to by news media – killed, maimed and chased people out of their homes, and also razed houses and food barns to the ground.
One of the Victims of the Attack who was interviewed by the Middle Belt Patriots team yesterday.
We crave your indulgence to listen to their story and understand what these people have had to experience (and are still experiencing)
Located in the middle of the country, separating the mainly muslim north from the south, Plateau State is in close proximity to the insurgency that has plagued the North. In the last two-plus years, the danger of armed herdsmen attacking locals in communities as far as Southeastern states and Southwestern states has been a recurrent issue, with concerned citizens even forming vigilante groups. The attacked communities in Plateau state also formed vigilante groups for self-defence, however, locals claim that local police frequently arrest and disarm young people found with firearms, which leave them at the mercy of the same police force and military personnel who reportedly have extremely slow response times.
The Christmas attacks took affected communities by surprise, bloodying what should have been a joyous festive period. “We were scared because we weren’t expecting an attack. People hid, but the assailants captured many of us, some were killed, others wounded,” Markus Amorodu, a resident of Mushu village, told AFP. Immediately after the tragedies, condolence messages poured out across social media, from concerned Nigerians to the global Christian community, who identified the attacks as a fatal persecution for the thousands who live in these communities.
Currently, many of the survivors have been displaced, while many killed victims were buried in mass graves. Many displaced survivors are living in IDPs, barely subsisting on donations from individuals. A GoFundMe account has been set up to assist survivors during these difficult times, and volunteers have reached out to people from these communities, publicly sharing their stories and how the donated funds are being used. The NATIVE urges everyone who can donate to please do so.
These are some of the houses that were burnt in the 24th December attack. Some partially and others completely to ashes. pic.twitter.com/VvsbxMndAA
Since our very first festival in 2016, the NATIVE has existed at the fringes of popular culture committed to highlighting, analysing and championing the rising talent coming from the African continent tomorrow: today. Right from the very start, we’ve aligned ourselves with telling important stories and connecting audiences at home and in the diaspora with culture from both sides of the world.
At NATIVELAND Festival, we serve as the bridge that connects the people at home with the diaspora. Our diverse roster of artists from around the world have attracted these audiences and artists alike to spend one memorable night with NATIVE every year. From headliners such as Burna Boy, J Hus, Dave, Naira Marley, Davido, Tems, Rema and more, our vision has always been clear in bringing together the best in class talent to an audience deeply connected to their music and sensibilities.
In March 2020, we launched Fresh Meat (now known as uNder), a monthly column that stayed true to our mission to reshape the face of African popular culture with a monthly list that highlighted a rising generation of fearless artists who refuse to conform to norms, and are creating their own paths, on their own terms. The inaugural edition featured artists such as Omah Lay, Zilla Oaks, emose (now known as Bloody Civilian), Olayinka Ehi, FOREVATIRED and more stellar acts who have only grown to become household names today.
In 2022, we revamped Fresh Meat into uNder giving it a new name and face, albeit the same mission. The name was a play on the word underground. Usually, the trope attached to underground music is its distance from mainstream success, however, the Internet has revolutionised music streaming and success at the click of a button. As such, the artists who featured in this column were far from “under the radar,” but come from a line of talented artists, from around the continent and diaspora, including those that you may have heard of before, and others you might never have heard of, but are on the cusp of their biggest moment.
For our fifth edition of our festival, we’re merging the worlds of uNder and NATIVELAND with a special uNder artist presentation powered by our partnership with Hennessy. This Friday, we’ll be unveiling a new artist to perform on the NATIVELAND2023 stage with a “Very Special Freestyle” challenge that invites artists from around the country to submit a verse to Trill Xöe’s Very Special beat. While we wait to unveil the final artist on the lineup, we’re placing the spotlight on the talented spate of uNder artists who are all at various stages of their career and drumming up anticipation with each new release.
From 2023’s breakout star Brazy to new names such as xinsomniac, here are the exciting acts gracing the stage at NATIVELAND 2023 this Friday.
BRAZY
Brazy is a name to get familiar with before the year runs out. After creating bright spots on the Afropop canvas this year with genre-bending music from “Attends,”“omg,”“Brazy Skank” and the recently released bopper, “Daddy,” Brazy makes her debut on the NATIVELAND stage this year. Given that she’s embarked on a near-peerless run, topping charts, weaving dance music with alternative Rap and racking up new listeners in the space of twelve months, we’re very certain the Afro Sexy rapper will bring the same heat to the main stage with an unforgettable performance.
DEELA is no stranger to the NATIVE platform. Since her debut, we’ve been keenly covering her off-the-cuff raps and delectable cadence leading to her feature on uNder in August 2021. After two years spent improving her skills and working on her mixtapes including ‘DONE DEEL’ and ‘Is This On?..’ the London-based rapper makes her debut on the NATIVELAND stage after an impressive year spent racking up accolades including a guest feature from Flo Milli. The rising star has consistently fine-tuned her penmanship, armed with a youthful outlook on life and an unbridled confidence.
SGaWD has been running laps around her contemporaries since her debut on the scene in 2019. Since then, she’s been offering fierce reflections about life as a female rapper in Nigeria and delivering bars at a breakneck pace. SGaWD unapologetically comes with affirming sex-positive bars, reminding women that they call all the shots. She does all this armed with an experimental approach, constantly reshaping the face of rap music in Nigeria with fusions across EDM, R&B, pop and other soundscapes. This year, she debuts on the NATIVELAND stage after featuring on TRYBE in our NATIVE The Reset Issue 5.
Read our full-length interview with SGaWD here.
LIFESIZE TEDDY
Lifesize Teddy launched into our radar at the top of the year when she arrived as Mavins Records latest act on its growing all-star lineup. Arriving with a self-titled EP laced with confident hits and charming slappers, Lifesize Teddy introduced herself as the rapper and poet with a heart of gold. Not up to a year after her debut on the scene, the rapper is already recording wins from performing with Ayra Starr on the London leg of her tour to making her memorable debut at NATIVELAND. Lifesize Teddy is only getting better and better.
Last year, Yarden reiterated his penchant for feel-good hits on Afropop chart-topping single “Wetin,” a melting pot of mainstream sounds padded with his uniquely alternative touches. This reintroduced Yarden to a new world of listeners, only just getting familiar with his sweet-sounding synths and smooth cadenced raps as he tells stories of love and life. With each new release, Yarden continues to navigate a gradual come up, learning the ropes of mainstream audience appeal while staying true to himself. This is what makes him the perfect addition to our all-star lineup.
XINSOMNIAC
xlnsomniac’s chameleon-like tendencies allow him traverse bedroom pop-leaning sounds with flagrant touches of electronic music and other relative influences. His debut project, ‘House of X’ snagged production credits and features from artists within the alternative pop soundscape such as Tochi Bedford, T3agray and Icitooicy. With an electrifying sound and fierce rhyming skills, xinsomniac has a lot to offer the NATIVELAND crowd as he makes his debut on stage this weekend with hit songs such as “Running” and “All I Had.”
Davido’s return was marked by a classic album titled ‘Timeless,’ and the introduction of two new acts in the revamped version of his record label, DMW 2.0. After the global superstar discovered her through a freestyle on Instagram, Morravey went on to deliver a noteworthy debut on “In the Garden” for the album. The Rivers-born crooner came clutch with dreamy chords and awe-inspiring delivery for the Amapiano-driven record. Since then, Morravey’s star has only continued to shine and it’s this energy she brings to NATIVELAND 2023.
In the age of social media, one viral second can change the course of an artist’s whole entire trajectory. For an artist like Adhnok, he’s no stranger to the success of viral moments. After working behind the scenes with the NATIVE as a videographer, Adhnok is making his debut on the NATIVELAND stage off the back of his viral hit single, “Straight From Naija.” The memorable track invites audiences to share memories of being Nigerian and proud. Adhnok is a performance you don’t want to miss.
Kold AF is a name to get familiar with this year. Her sonic influences span genres such as Dancehall commingled with Caribbean-birthed sensibilities and rap cadences which have honed the singer’s trademark flow. With a two-pack release and debut EP now under her belt, Kold AF’s unique sensitivity and refined vocal delivery gives her a visceral edge among the new generation of young women musicians waxing lyrical through song.
REEPLAY is a member of the ANTI WORLD GANGSTARS–a music collective emanating from the country’s capital city, Abuja. The rapper’s effervescent bars shine through across solo releases like ‘The Jig is Over’ and on “Homebase” with ODUMODUBLVCK for tracks like “SAINT OBI” or “BADMAN BOUNCE.” With his gritty bars and clever wordplay, he’s a prime candidate for wowing the crowd at NATIVELAND 2023.
CHI VIRGO
Chi’s mellifluous vocals glaze through a series of R&B, pop and dance sound waves, gleaming with a pomp and sensual energy allows her define her craft on her own terms. Her recently release extended play, ‘I’ve Seen The Lizard People’ perfectly encapsulates this, showcasing Chi’s dexterity and air of honesty as she tells stories of love and life in bewitching vocal performances.
TRILL TEGA
The way Trill Tega tells it a few years ago, he and his friends were hustling tickets to get into NATIVELAND and this year, he makes his memorable debut on the stage of a lifetime. Armed with gritty bars and textured palettes, Trill Tega has always displayed an ear for transforming Hip-Hop with a slew of other genres. His charismatic energy shines through on his music and translates to high-energy performances which you can catch this Friday.
In 2012, the third edition of Hennessy Nigeria’s ‘Hennessy Artistry Cypher’ was headlined by Naeto C and M.I Abaga. The resulting song, “Bartender,” is one of the few on-wax collaborations between two of the most essential names in Nigeria’s rap music history. It’s also arguably the best and most memorable in the series of songs created by headlining acts of the cognac brand’s music-centric venture. A glossy pop-rap cut driven by Tee-Y Mix’s bubbly production, both rappers revel in the luxurious perks of living the high life, with their preference for Henny coming across as worthy signifiers, even though it was obvious brand-extolling.
Over its two preceding editions, the headline song was graced by Rap in a more auxiliary way, from M.I and Ice Prince trading bars over the Kas-produced, electronic Juju cut “Like A Bottle,” to eLDee delivering slick raps on the clubby and kitschy “Toast to the Good Life.” Where those installments featured non-rap headliners – Sir Shina Peters, Bez and Nneka on the former, and Banky W and Tiwa Savage on the latter – Naeto and M.I’s headlining tenure was the first (and only, so far) all-rap affair. It’s a consequential detail to point out, largely because of the time in which it took place.
Depending on who you ask, the golden period of Rap music in Nigeria is a debatable point. One of the periods in contention, though, is the stretch between the late 2000s and early 2010s. In 2012, specifically, M.I and Naeto were at the top of the totem, leading a burgeoning but albeit, commercially vibrant English rap scene. At the same time, the multiplying effect of Dagrin’s supernova run and his untimely demise was beginning to take hold, with lyricists who rapped in their indigenous tongue proudly emerging from the fringes of the country. It was an abundant time for Rap music in these parts, and not only did that year’s Hennessy Artistry Cypher reflect this, but it also marked a practical starting point for Hennessy’s consistent presence in Nigerian Hip-Hop.
For fans of Rap music in Nigeria and its lyricists, there’s one thing that’s a certainty going into every new year: Hennessy cyphers. First debuting back in 2015, the Hennessy Cyphers have become the most prominent cypher platform in Nigeria, the go-to place for audiences to see and hear a range of rappers, both popular and emerging, engage in one of the most basic forms of exhibition associated with hip-hop. In the company of their peers, rappers in a cypher attack a single beat, taking turns with freestyle or written bars or a mix of both, a no-frills, sometimes low stakes, avenue to (partially) highlight the talent pool of Rap music in Nigeria.
The launch of the cypher was preceded by the introduction of VS Class, a freestyle battle space for yet-to-be-popular rappers to battle each other for a chance to win and make launch their careers. Inclusive of the first Hennessy VS Class competition in 2014 was a freestyle series by more prominent rappers, who also doubled as judges. Aired live on Lagos-based radio station, 99.9 Beat FM, these first batch of freestyles from Reminisce, Show Dem Camp, Illbliss, and more, set the stage for the Hennessy cyphers, an annual ritual that’s now in its tenth consecutive year.
Since its inception, the number of Hennessy cyphers in Nigeria has varied from year to year, but it’s never been less than three in one annual installment, accounting for at least twelve of the country’s rap artists at each time. While it’s difficult to determine the exact number of Nigerian rap artists who’ve graced the famed platform, I can safely say the number ranges somewhere beyond sixty. With that nebulous but certain ballpark figure, it’s definite to claim that Hennessy cyphers has hosted more rappers than any other freestyle platform of its specific kind in the country.
With each year the cyphers take place, and as these speculative figures increase, Hennessy’s dedication to Nigerian Hip-Hop is reconfirmed, however, this has not always been matched by a consistent streak of stellar execution. The cyphers’ 10-year run has been graced by the good, the middling and even the wearying, leading to a mixed bag of reception from viewers. At the beginning of 2019, M.I—in an ironic twist—led a charge against the lukewarm results of the Hennessy Cyphers in the immediate past two years, pitching his tent with a competing cognac brand. That cypher, which also featured A-Q, Loose Kaynon and Blaqbonez, immediately went viral, sparking a deluge of hot takes that leaned into the derisive energy.
Beyond the hot takes, there were those who hoped the situation would spark a renaissance on the path of the Hennessy Cyphers. In revisiting the cyphers from 2017 and 2018 for this story, the sentiments were understandable. Compared to the fiery, competitive verve of the first two installments, things had clearly gotten wry. A year later, those expecting a corrective course in 2019 were disappointed. Complaints ranged from near-atrocious beat selection to poor video editing and generally uninspiring rapping. Not too long after, M.I and associates would return for another round of taunts, which would contribute to one of the biggest rap beefs in Nigerian Hip-Hop history. Pulling off a much-needed feat of perseverance, Hennessy remained steadfast in its commitment to Nigeria’s Hip-Hop scene.
To an extent, the uninspired spell of Hennessy Cyphers mirrored Rap music in Nigeria, a space that had been effectively taken over by indigenous Rap proponents. In the latter part of the last decade, the commercial space for English-speaking rap music shrunk significantly, a situation unwittingly aided by divisiveness. At that time, organisers of the cyphers tried—but not hard enough, in my opinion—and failed to meaningfully integrate rappers with a preference for spitting in their respective mother tongues.
It became clear that cyphers weren’t fully representing rap music in Nigeria, from the indigenous rap issues to the severely limited number of women who’ve graced the platform. These are complaints that deserve urgent and wholesome treatments, and the continued presence of the cyphers projects hope that they will get sorted, especially since cyphers such as Hennessy have been back to a green patch over the last two editions.
In 2020, following a highly publicised reconciliation between M.I and Hennessy’s long term Nigerian rap ambassador, Vector, the cyphers returned with its best curation since 2016. Twelve rap artists across three cyphers took to three knocking, Chopstix-produced beats, cumulatively delivering an entertaining and engaging cypher experience. For the first time in years, the freewheeling essence of freestyle cyphers was at the fore, from Falz’s joyful raps to Vader the Wildcard’s confrontational energy, to Phlow’s infectious confidence, to Vector’s eye-widening punchlines, and more highlights. It was the sort of long-awaited return to exciting execution that signalled a better path going forward.
Building on the previous year’s premise, the 2021 cypher utilised the same format of twelve rappers across three cyphers. The first cypher, featuring Alpha Ojini’s topical verve, PsychoYP’s flashy lyricism, Barrylane’s proto-Kendrick delivery, and Legendary Styles’ impish puns over a creeping drill beat, was the most forward-facing of the trio. In comparison to the other two, the second featuring VS Class alumni and the third featuring the “headline” cypher acts rapping over beats of similar tenor, it shows rappers with different and distinct rap inclinations, a hallmark of where Rap music in Nigeria is currently at and could be.
Following last year’s all VS Class alumni showcase and the headline, pan-African cypher line-up, this year’s solitary Hennessy cypher went for flash—and rightfully so. To be cautious, it’s difficult to use the term ‘renaissance’, but rap music in Nigeria is flourishing creatively and recording tangible commercial success, whether it’s something like the niche corner of women-dominated dance and electronic-infused stylings, or the nationwide success of slang generators Shallipopi and ODUMODUBLVCK.
Currently, Ladipoe, Vector, Blaqbonez and Zlatan are part of the rap artists moving the genre beyond any limitations, and subtly redefining hip-hop culture in relation to Nigerian youth culture. Their participation in this year’s cypher is visibly defined by joy, for the scene they represent and its upward trajectory. It’s not the most blistering execution of a Hennessy cypher on a lyrical level, but the visuals are stunning and there’s a much higher sense of camaraderie, which is notable for a community that has often undercut its cumulative growth by overly relying on beefs and controversies for nationwide attention.
With this year’s cypher primarily centred on stars, it slightly obscured a key aspect of Hennessy’s relationship with Nigerian rap: Platforming up-and-coming talent. From the VS cypher competitions to the multi-tiered cypher editions, many rappers have passed through the Hennessy platforms, so much so it’s a rite of passage. Perhaps, that’s why the collaboration with NATIVELAND feels more appropriate than corrective. Ahead of the anticipated music and culture festival, the NATIVELAND x Hennessy ‘Very Special’ freestyle challenge is a space for exhibition, with solid payoff—especially for the winner who gets a performance slot on the main stage and a chance to vault into ‘Next Up’ conversations.
Prior to this moment, it would be a little preposterous to describe as rap music in Nigeria as popular, to the point where it’s at the centre of a partnership between two illustrious brands. It’s not unprecedented, though, with NATIVE’s consistent, conversation-starting coverage of Hip-Hop over the years. For the cognac brand, this is another statement in itself: Hennessy has been along for Nigerian Hip-Hop’s heavily bumpy ride for a decade and, as the rewards are becoming tangible, it isn’t looking to stop anytime soon.
With NATIVELAND only a week away, we’re unveiling many special surprises and announcements in the run up to the highly anticipated festival. This week, we’re partnering with Hennessy–one of our official sponsors for NATIVELAND 2023 to give back to our community and allow one lucky artist the chance to make their debut on the NATIVELAND lineup.
Kicking off today, NATIVELAND and Hennessy have partnered on the “Very Special Freestyle” which invites artists from around the country to submit an open freestyle verse to award-winning NATIVE Records and 44DB producer, Trill Xöe’s “Very Special” beat.
To participate, rappers must record a 45-second verse over the beat titled: “Very Special” by Award-Winning Hip Hop Producer, Trill Xoe. The verse must include these three words: NATIVE, Very Special, and Hennessy and be uploaded to social media using the hashtag #nativelandxhennessy. The winner of the competition will be selected by our judges Trill Xoe (Producer), Teezee (NATIVE Records Label Exec), and Odumodublvck (Rapper).
In 2023, Nigerian hip-hop continued solidifying its place as a force resonating across the nation and beyond. The “Very Special Freestyle Challenge” is an effort to continue championing the future of Nigerian rap today. This partnership aligns with our unwavering commitment to spotlighting the best of talent in the underground and mainstream talent coming out of Africa tomorrow: today.
NATIVELAND 2023 will return to Lagos next week Friday on December 22, 2023 at an all new location, SOL Beach Lagos. Click here to purchase your tickets.
Music history is littered with record labels whose specific focus helped elevate genres and heighten the hype of subcultures. Think Motown in the 1960s/70s and Soul Music, Def Jam and the early days of Hip-Hop popularity in the ‘80s, Death Row and West Coast Gangsta Rap in the ‘90s, Kennis Music and the foundational era of Nigerian pop post-mid-‘90s, and several more. In just a few years of becoming a mainstream fixture, Dvpper Music already fits the bill of similar labels—as label services, artist management and distribution company—through its clear dedication to amplifying Nigerian street music.
Over the last three years, Dvpper Music has digitally distributed music for a range of artists, from the emo-pop of Omah Lay to the accessible pop-rap of Falz to Savage’s omnivorous curations. However, its primary identity these days is hitched to its affiliation with street music acts, evident in current roster of Dvpper signees and partner artists: the irreverent and ultra-prolific Seyi Vibez, Benin-raised street-rap hit-maker Shallipopi, the self-professed ‘Trench Kid’, Balloranking, the poignant crooner TI Blaze, and many more.
The current phase of Street Music, broadly and alternately referred to as Street-Pop and Street-Hop, has seen an influx of stars emerge from the grittier areas of Nigeria’s southern hoods, southwest especially, hitting regional success, viral nationwide attention and, in some cases, veritable global popularity. Post-Covid, Dvpper Music has become synonymous to street-pop, a frontline player in arguably the most defining part of secular youth culture and music. With its track record of breaking out and supporting street-bred artists, a tangible show of domination during the Detty December live shows and music festivals period seems appropriate and well-earned.
On December 20th, at the Palms, Lagos, Dvpper Music and Entertainment, through its subsidiary Dvpper Live, is curating Trench Fest, a concert experience featuring live performances from artists on the label services company’s packed roster, alongside other stars and related street-pop acts. Seyi Vibez, Shallipopi, Balloranking and TI Blaze are undoubtedly on the bill, and they will be joined by street-rap superstar Zlatan, UK-based group and self-acclaimed ‘Area Boyz’, NSG, neo-Fuji singer Barry Jhay, Ghanaian pop breakout act Lasmid, Nigerian rap OG Ice Prince, popular singers L.A.X, Skiibii, and Bad Boy Timz, and more. The bill also features emerging Dvpper artists like Zerry DL, Kashcoming, and TML Vibez.
Trench Fest is set to be a celebration on several levels: of some the artists who currently are defining Nigerian music through musical style, slang and substance; of the places and environments that have informed street-pop; of an entertainment company with an in-the-moment yet forward-facing agenda. In a time where achievements in Nigerian pop are viewed through an outward-looking, globalised lens, Trench Fest is the perfect avenue to celebrate the deeply-rooted parts of music culture.
You can buy your tickets ahead of December 20thhere.
In ten days, the doors of NATIVELAND 2023 will be opening to music lovers and listeners from around the continent at the SOL Beach in Victoria Island, Lagos. Anticipation is already rife for one of the most highly anticipated festivals of the year which will mark a welcome return after a four year break since 2019.
As we count down the days, it’s easy to fall victim to overpacking for the festival or turning up with little to no essentials. Attending a concert is no menial task, it requires rapt attention, awareness of your physical surroundings, carefulness with friends and concert-goers, and much more. Never fear, we’ve got you covered and we will be spending the next week making sure you’re ready to rage at the ‘Land.
If you’re already thinking of what to bring to the NATIVELAND festival, then look no further than this starter’s guide to attending NATIVELAND 2023. Whether you’re a first-time attendee or a series regular since 2016, or just discovering us for the very first time, we’ve got you covered on all the necessary essentials to bring with you next week.
From your digital concert ticket which can be used to redeem a wristband at SOL Beach to a trusty hand fan and enough cash to enjoy the myriad of food stalls and entertainment, here’s everything you need to know when getting ready for NATIVELAND this year.
DIGITAL TICKET
No ticket, No entry! It’s important that all attendees for NATIVELAND 2023 arrive on time at the venue with a copy of their digital ticket which will be used to redeem a physical wristband at the venue. No digital ticket means no wristband and all wristbands are given out once, so don’t lose yours!
CASH
It’s imperative that you stay strapped with enough cash to allow you access to the food stalls, drink vendors and exciting offers that we have in store for you next week. Whether you’re looking to try out some of the exciting restaurants that SOL Beach offers such as Danfo Bistro, Rapa Nui and more, or you’re looking to try out some incredible pouches of unique Quacktails flavour then come ready with some extra cash to splurge. There will also be point of sale terminals at the venue for bank transfers and Apple Pay.
FACE MASKS
The Coronavirus pandemic introduced facemasks to our everyday lives and looking back at life before 2020 while gaining awareness on just how quickly germs spread, it’s astonishing to see our lives without. While there will be no mask mandates at the festival, it is advised concert goers wear one for their own safety, especially if you or anyone you’ve been around had a flu in recent days. Considering the end of year in Lagos comes with Harmattan’s dry and dusty winds, a facemask would ensure you —particularly the asthma and other respiratory health attendants— enjoy the show without feeling uncomfortable.
ID
A valid means of identification is just as important as your ticket barcode when you’re attending NATIVELAND. For students, a valid student ID from a recognised educational institution is required. For those above 18+, we have bevvy of cocktails and alcohol available on the day so come down with your ID card to verify purchases.
PORTABLE CHARGER
Ain’t no party like a Lagos party. It’s very easy to lose charge while attending the ‘Land for several hours. This year, we highly advise attendees to come with a portable charging system to ensure that their devices stay connected while on the beach. There are lots of unmissable acts and you won’t want to miss the action due to low battery. It is also very important to make sure no one is stranded and you can easily contact your Bolt to safely exit the festival grounds.
HAND FAN
Anyone that’s been in Lagos for the past couple of weeks can testify to the mind-numbing heat we’ve experienced, with a temperature ranging from degrees in lower twenties to early thirties. Hydration is important now more than ever so bringing a bottle of water and a fan to stay cool and hydrated comes highly recommended. The last thing you want is also looking sweaty in those pictures.
We might be back outside again but safety measure have not taken a backseat. For anyone attending the festival next week, it’s imperative you come with items that can aid sanitation and cleanliness. Essentials include hand sanitisers, disinfectant wipes, pocket tissues and more, that are portable and compact to fit into your purse.
COMFORTABLE SHOES
NATIVELAND 2023 is at SOL Beach in Victoria Island, Lagos. This means that we’ll be watching artists perform on the beach. As such, comfortable footwear is advised for standing and walking for several hours. There will be chairs and seating areas provided as well.
COMPACT BAG
All the aforementioned items will have to go somewhere and rather than clumsily stuffing items into your pocket, a shoulder bag, crossbody or fanny pack would be perfect. However, not all bags will be appropriate like a tote bag considering those don’t have any top covering. A small bag is also easier to carry around without hindering movements or weighing you down.
CAMERA
While your phone camera is one way to document the night, a film or digital camera is another way to capture all the excitement. For those weary of carrying a film or digital camera, you could purchase a simple Fujifilm or Kodak disposable camera beforehand.
Returning for one of the most highly anticipated celebrations of music and culture in West Africa, it only made sense to mark this five year milestone with our recurring collaborator, Power Horse. The premium energy drink has in many ways over the past decade reiterated its ethos of feeling big ambitions, showing support for culture events NATIVELAND, Groove on the Grass and Street Souk, Africa’s biggest streetwear convention.
After four years since the last appearance, our flagship festival, NATIVELAND, has now returned bigger and better than ever with headline sponsor, Power Horse. Since the NATIVE Network’s establishment and the festival’s birth in 2016, our priority has always been supporting the budding talents emanating from Africa, by providing a platform to showcase their creativity on their own terms. This keys in perfectly to Power Horse’s decade long creative vision of showcasing thousands of regional artist debuts, coupled with holistic music experiences with the fast growing main and subculture.
We’ve spent over half of the last decade identifying, analysing and championing the best of tomorrow, today while revitalising live entertainment experiences in Nigeria. It is now time to make our long awaited return with NATIVELAND V, a show-stopping experience on December 22, 2023. Hosted at SOL Beach, Victoria Island, this year promises high energy performances blended by Africa’s rich culture in form of our headliners: Uncle Waffles, ODUMODUBLVCK, Ayra Starr and Lancey Foux, alongside a fusion of cultures through food, style, activations and more.
As we draw closer to one of the most highly anticipated celebrations of music and culture in West Africa, it was almost a no-brainer that Smirnoff, a leading distilled spirit brand, joined us for the celebration. The esteemed platform has shown support for our budding creative scene over the past couple years, by partnering with platforms like Big Brother Naija.
After four years since the last appearance, our flagship festival, NATIVELAND, has now returned bigger and better than ever for the fifth edition with headline sponsor, Smirnoff. Since the NATIVE Network’s establishment and the festival’s birth in 2016, our priority has always been supporting the budding talents emanating from Africa, by providing a platform to showcase their creativity on their own terms. This keys in perfectly to Smirnoff’s long standing support of niche and mainstream creative communities across the world.
We’ve spent over half of the last decade identifying, analysing and championing the best of tomorrow, today while revitalising live entertainment experiences in Nigeria. It is now time to make our long awaited return with NATIVELAND V, a show-stopping experience on December 22, 2023. Hosted at SOL Beach, Victoria Island, this year promises high energy performances blended by Africa’s rich culture in form of our headliners: Uncle Waffles, ODUMODUBLVCK, Ayra Starr and Lancey Foux, alongside a fusion of cultures through food, style, activations and more.
To mark the highly anticipated return of our flagship festival, NATIVELAND, we are partnering with Spotify Frequency as one of the official sponsors of 2023.
Spotify is one of the major streaming platforms available in the world, and they have spent the past few years reaching further into the African continent by spotlighting the most exciting emerging and breakthrough artists, to create music that transcends borders, backgrounds and music genres.
For NATIVELAND 2023, Spotify Frequency will be taking over our new festival ground at SOL Beach in Victoria Island, Lagos. From documenting Uncle Waffles’ journey from South Africa to NATIVELAND, Spotify Frequency through its partnership with the NATIVE, will provide entertainment and refreshments for festival goers and music lovers from around the continent.
Since the birth of our annual festival in 2016, the NATIVE has made it a mission to support, identify and champion the rising talent from arond Africa tomorrow: today. This is in tandem with Coke Studio’s ethos of spotlighting rising talent and ensuring that these emerging acts have a platform to showcase their abilities, on their own terms.
Join us on December 22, 2023 for NATIVELAND V, an unmissable experience for music lovers with a stacked lineup featuring 2023’s breakout rapper ODUMODUBLVCK; Amapiano sensation Uncle Waffles; UK trap cult hero Lancey Foux; and Afropop’s brightest star, Ayra Starr.
Find the latest updates on NATIVELAND 2023 here and buy tickets here.
To mark the highly anticipated return of our flagship festival, NATIVELAND, we are partnering with Coke Studio as our official headline sponsor of 2023.
Coke Studio is a global music platform that brings together the most exciting emerging and breakthrough artists from around the world, to create music that transcends borders, backgrounds and music genres.
As one of the biggest music performance platforms in the world, it is no surprise that for our return, we’re partnering with Coke Studio who has spent the past few years providing a platform for talented African acts such as Nasty C, Runtown, Young Stunna, and more.
For NATIVELAND 2023, Coke Studio will be taking over our new festival ground at SOL Beach in Victoria Island, Lagos. From … to … which will be available on site, Coke Studio will provide entertainment and refreshments for festival goers and music lovers from around the continent.
Since the birth of our annual festival in 2016, the NATIVE has made it a mission to support, identify and champion the rising talent from arond Africa tomorrow: today. This is in tandem with Coke Studio’s ethos of spotlighting rising talent and ensuring that these emerging acts have a platform to showcase their abilities, on their own terms.
Join us on December 22, 2023 for NATIVELAND V, an unmissable experience for music lovers with a stacked lineup featuring 2023’s breakout rapper ODUMODUBLVCK; Amapiano sensation Uncle Waffles; UK trap cult hero Lancey Foux; and Afropop’s brightest star, Ayra Starr.
The rumours are true – NATIVELAND is back. After a four year break, our annual music festival is returning this December for an unmissable fifth edition.
Returning on December 22, 2023, six years after our first concert in 2016, our marquee fifth installment will be hosted at an all-new location right here in Lagos, Nigeria at SOL Beach. With a stacked line-up, brand activations and collaborations with amazing brand partners and collaborations such as our headline sponsor Coke Studio and support from a host of other sponsors including Spotify, Frequency, Hennessy, Power Horse and Smirnoff.
For over half a decade, the NATIVE has remained committed to spotlighting the best mainstream and underground talents at home and abroad. Since our 2016 debut, NATIVELAND has brought a renewed perspective to live entertainment, delivering top of the class performances to an energy-filled crowd. Our culture festival assembled local and international acts including Skepta, Burna Boy, J Hus in 2016; Davido, Tekno, Not3s in 2017; Burna Boy, Wizkid, Skepta in 2018; Dave, Tems, Cruel Santino in 2019; and Rema, Amaarae, CKay at an intimate free-access show in 2021 for our core community of fans.
As Afropop continues to make its triumphant crossover on a global scale, it’s the best time ever before to make our highly-anticipated return, with a renewed mission to champion the best talent of tomorrow: today. After eleven months well spent watching, championing and highlighting the best of African talent, we’re looking to give back to our community who has been on this journey along with us.
Without giving too much away, we can’t wait to open the doors of NATIVELAND V to you this December. Our all-star lineup will feature headliners such as 2023’s breakout rapper ODUMODUBLVCK; Amapiano sensation Uncle Waffles; UK trap cult hero Lancey Foux; and Afropop’s brightest star, Ayra Starr. The line-up will also feature a talented spate of artists from around the continent including Cruel Santino, Shallipopi, JELEEL!, DNDSection, DETO BLACK, BOJ, Odunsi The Engine, Bloody Civilian, Lifesize Teddy, Brazy, Rigo Kamp, Len, DEELA, Kold Af, SGaWD, Odeal and special guests.
In the 70-year long history of the National Basketball Association (NBA), the sport has grown beyond an on-the-court product and transcended across a range of industries spanning art, music, fashion, and more. Basketball is no longer a sport to be enjoyed solely on the court among nine players, but now a huge phenomenon that intersects with popular culture today. This wholesale exchange between sports and culture is due in large part to the several strategic partnerships and collaborations that have been forged across the years by the NBA and its players.
In Africa, the NBA is making similar strides and reaching into the creative ecosystem. Since its entry into the Nigerian market in 2022, the NBA has made clear and concerted efforts to strengthen its presence in Africa,Its most notable milestone before this is the establishment of the Basketball Africa League (BAL) in 2021, its first league outside North America. Also, to honour the NBA’s 75th anniversary season, the first floating basketball court in Africa was created off the Lekki-Ikoyi Bridge along with the NBA Crossover event, which consisted of a celebrity game.
This collaborative spirit lays at the centre of the NBA’s mission in Africa, which has been forged so far through team work and community building. Last year, the NBA hosted the first edition of its NBA Meets Art installation, a stunning photography exhibition connecting various key players in the art and sport world. This year, for its second installation, NBA Africa brought together key industry players and leaders to enjoy a curated celebration of the game of basketball through the lens of Nigerian artist, Dennis Osadebe.
The latest installation titled ‘Passing/Building/Victory,’ is the brainchild of Osadebe and explores the key role of teamwork and how similar collaboration can help develop communities, aligning with the NBA’s own mission to inspire and connect people everywhere through basketball. The installation consists of five figurines representing basketball players wearing the artist’s distinctive mask, a recurring symbol in his visual work that speaks to Nigeria’s heritage.
“When we had our initial conversation with Dennis, we said we want work that represents what the NBA stands for: teamwork. You can’t win a championship on your own. We also wanted something that promotes Nigerian excellence. Everything we said, he interpreted in a way that shows a really strong and powerful message,” shares Gbemisola Abudu, the NBA Africa Vice-President and the Country Head of NBA Nigeria. The unique figurines which were launched at the Art X Lagos week last month in Lagos, draw on inspiration from Osadebe’s childhood.
“What was most important to me was to creatively embody what basketball offers, which is teamwork and how that relates to community development,” Osadebe admits. As such, the installation touches on universal themes of the enjoyment of play in our formative years. The figurines are set in dynamic motion, symbolically passing the ball through their unified, outstretched arms to enscapusulate the shared spirit of camaraderie and victory.
NBA Meets Art beautifully merged the worlds of basketball and art, showcasing the power of cross-industry collaboration and the NBA’s mission to reach and extend themselves far beyond the game.
Our conversation, which follows below, has been lightly edited for clarity.
NATIVE: For Gbemisola, why is it important for the NBA to make great strides within the creative industries?
Gbemisola: In Africa, NBA’s objective is to be the number one lifestyle brands in Africa and it’s in how we find ways to make the brand culturally relevant in Nigeria. When we opened our first office in February 2022, I spent the first several months really looking at the market through the lens of the NBA, trying to determine the best way to connect with existing fans. In the past several years, Nigeria has been the purveyor of culture in Africa. Being a marketer by training, it meant taking a step back and figuring out how to create something that tells an effective story. That’s where the idea of NBA Meets Culture came from.
We started out with NBA Meets Art in November 2022, where we had the Deputy Commissioner of the NBA present. The first edition featured a dinner and a photographic exhibition. For the second edition, we kept thinking, “how do you take this to the next level?” The idea was to have five pillars of culture: art, fashion, film, music, and tech; and embed our brand and the cultural relevance of our brand to those five pillars.
NATIVE: What informed the theme of “Passing/Building/Victory” and how did you land on a Nigerian artist for this edition?
Gbemisola: The theme was the genius of Dennis. For the second edition of NBA Meets Art, we wanted to take it a step further by actually working with an artist. We commissioned the artist and they decided how they would interpret the vision of NBA Nigeria. In multiple conversations, Dennis’s name kept coming up. I was at his first exhibition at the Red Door gallery, so when his name kept coming up, I remembered him. When we had our initial conversation with him, we said we want work that represents what the NBA stands for: teamwork. You can’t win a championship on your own. We also wanted something that promotes Nigerian excellence. Everything we said, he interpreted in a way that shows a really strong and powerful message.
Dennis: Thank you so much for that intro. What was most important to me was to creatively embody what basketball offers, which is teamwork and how that relates to community development. I was trying to find that connection and put it in the work that I created. Traditional sports figurines are a staple for me. I wanted to create something around that space. When we started the conversation, I didn’t want to create a figurine that would dunk or make a point. I wanted to reinterpret what a figurine could do. We started thinking in that direction.
Dennis, before coming on board this project, how would you describe your relationship with basketball or sports in general?
Dennis: There’s no one particular intro into basketball, but two things I vividly remember were my love for sporting games from NBA2k to NBA Street, and I remember that my older brother was into basketball and he was someone I looked up to. There’ve been different ways the NBA has allowed me to engage in the sport outside of the sport itself like through fashion.
What were your initial thoughts on this collaboration?
Dennis: I had to keep in mind all of the NBA’s goals but also find that synergy between their vision and my work. It was important to find that thread to present an idea that is relevant to our community as a whole. That potential is something that really excited me. Outside of that it was all about the momentum and the NBA team aligning with the idea was enough to keep me going.
Gbemisola: I think it’s worth adding that during the selection process, it’s one thing when an artist’s name keeps coming up, but it’s another when the artist has a natural affinity for the game, which is one of the reasons why I believe Dennis was able to distil the vision in the way he did. He understands basketball and really understands the DNA of the brand.
NATIVE: From the ideation stage to the final exhibition, how well would you say your visions were executed?
Dennis: 100 percent executed. I would say the support, belief and patience allowed for the idea to grow within itself.
Gbemisola: This process with Dennis had obstacles and challenges but everything actually made the work more powerful in the end. I think the initial display, the idea of that process is reflected in it. Whereas in the initial conversation, that wasn’t part of the discussion but it gave it a more powerful story in the end. We didn’t anticipate all the challenges the process would bring our way but honestly it was great. By the time the installation went up at Art X, I would say it was a great piece. It really captured the essence of the NBA and the DNA of who we are. At the end of the day that’s what you want, work that creates a dialogue and an interaction between the artist and the audience.
Dennis: The final piece was a true testament of the title because we all had to work together to make it happen.
NATIVE: The installation features five masked figures holding basketballs in Dennis’ signature style. What does this represent?
Dennis: I’d say the mask is a symbol of identity and heritage which reflects the rich cultural history of Nigeria. It was, of course, important to have that symbolism as it creates a reminder of who we are and what we hold. To take it further, it was also important to celebrate Nigeria’s history and achievements in the NBA. We really wanted to show our participation in the sport. It was about who are the players in the sports and their contributions, from winning the highest titles to even being a team player who was on the bench. It was a true testament to celebrating each year with every number we picked. What was important was being creative about the number and working on a very abstract level where we celebrate our history and celebrate it creatively.
What do you each hope people took away from the exhibition?
Dennis: As an artist, it’s always hard to determine what people will take away. What’s most important is that they feel a sense of joy and a sense of responsibility to work together. Most importantly, I hope they create a dialogue between themselves. Once there’s a conversation, I think the work is complete. It can be an internal dialogue with yourself, your partner or your enemy. As long as it exists, the work is complete.
Gbemisola: In addition to that, I hope people understand that it takes teamwork to build anything, whether it’s a project or community, it’s about everybody coming together and applying what their strengths are. Also as a brand, it’s letting people understand our relevance in the art space. Here in Nigeria and in Africa, what I hope for is for people to understand how the NBA is committed to the growth of basketball.
Art X Lagos is a special platform that prioritises making art accessible to everyone. Considering NBA Africa champions community building, why was it important to have the exhibition and interactive session there?
Gbemisola: It’s one of the reasons why I’m a huge fan of Art X. For the longest time when people think about art, it’s almost like art is for the few. It’s not accessible to everyone. In a country like Nigeria, we don’t have a lot of museums like other people do. What Art X has done is that democratisation of art, making it accessible to the average person. The NBA is that as well. This is a game and this is a brand for everybody. Being able to showcase this installation in place accessible to everybody, we couldn’t have selected a better platform for the work to be showcased.
Other than community-building, there was an overarching theme of youth culture and involvement as a whole. Why was it important to keep young people in the picture for this edition?
Gbemisola: I think for everything we do in Nigeria, Africa and as a whole, a big part of our target audience is the youth. If you look at Nigeria, 60% of the population are young people. The New York Times published an article where it talks about how the world is becoming more African because the rest of the world is ageing and we’re not because we have a youthful demographic. For any business, it’s an important demographic but especially for us. If you look at our players, most of them fall into that category.
As we continue to build the brand here and increase the footprint of basketball in Nigeria, we’re looking at how to create a defined path from the moment a child picks up a basketball for the first time to the time to where they can play professionally. If you look at it that way, it’s the youth that we’re speaking to. Our strategy is built around that and to take it a step further, the way we define basketball in Nigeria is the tool that the youth use to maximise their potential.
NATIVE: Collaborative projects may come with some challenges regarding creative liberty or even difference in ideas. How were you able to overcome those and arrive at what we had at the exhibition?
Dennis: I always say that, for me, collaborative projects are like a residency because you go into the universe of a brand and you learn about structure. I felt free to execute. Having their input is always important to me because I find collaborations to not just be about the artist or the collaborators. It’s about the team and how we all put our hands together to ensure that the idea which is the most important thing is executed. Once there’s that structure, I just work within it and enjoy the process as much as I can.
Gbemisola: Collaborations work when both parties know their strengths. Both parties understand what they bring to the table and they give each other the freedom and liberty to do that. One thing I’d always say is whenever you’re working with an artist, whether it’s a musician or filmmaker, you don’t want to take away that creativity because you rob them of the ability to do their best work. To his point, for a brand like the NBA we had parameters we needed to work within but he understood those quite well. When you’re doing anything, you have curve balls that come your way. But being able to rise above that and present a great work, it’s a testament to what we created.
Where would you say you see the relationship between art and basketball and the pillars you mentioned in the future and how do you think our creatives can be more involved in that?
Gbemisola: We’ve not even scratched the surface. I think there are so many opportunities and so much potential. We’ve created a template for how we interact with the creative industry, particularly with art. I’m very curious and quite excited for the life of this particular installation because it’s beyond Art X. The goal is for us to do it with the other pillars we’ve identified. I’d say watch this space without giving away too much, but we intend to replicate what we’ve done with Dennis and the learning from that, I think that will further define how we work with the other pillars.
It’s that time again. Every week, new music shows up, sweeping fans and music lovers off their feet while artists gauge reactions to know the effect of their creativity. At the NATIVE, we are committed to keeping our ears on the pulse of the music scene and bringing the best sounds to your doorstep. In our last edition, we brought you stellar new releases from BOJ & Abjebutter22, Tim Lyre, PDSTRN and more. Today’s NATIVE Selects features singles from Tyla, DETO BLACK, GDZILLA and more. Lock in!
TYLA – “TRUTH OR DARE”
Tyla is currently one of the most ubiquitous stars from the African continent. Following the smash success of “Water”which gained cross-continental collaborations with Travis Scott and Marshmallow, the South African singer is now teasing the release of her debut self-titled album which is slated for release in the new year. Ahead of this, she’s shared a five-pack release with fans which includes “Butterflies,”“On And On” and the catchy lead single, “Truth or Dare.” The Sammy Soso-produced track provides the perfect the new pop-leaning backdrop for Tyla to play on familiar sensibilities. The result is a track that puts her in contention for one of the most exciting artists of today.
DETO BLACK – “JUST LIKE DETO”
Nigerian rapper DETO BLACK is not afraid to pack an onslaught of wordplay for the haters, aunties and the naysayers. On her first solo single of the year titled “Just Like DETO,” the slick-tongued rapper delivers an anthemic and uncompromising rap banger that is unapologetically confident in the best possible way. Produced by Cadenza, the catchy new track finds the rapper tackling fame and imitation with sharp, clear bars.
MASTERKRAFT – “FRUIT” FT. JOEBOY & MAJEEED
Masterkraft is an auteur when it comes to pairing the right set of artists for a collaboration. On his latest single “Fruit,” the Nigerian DJ and producer taps the sweet sounds of Joeboy and Majeeed for a delectable and catchy new number. Across a sweet array of melodies, Joeboy and Majeeed address their respective muses and seek out their love and attention. The groovy Amapiano-tinged number is a stunning piece of songwriting that also places its catchy production at the centrepiece.
GDZILLA – “HIGH TENSION”
Earlier this year, Jonzing Records unveiled its latest act GDZILLA whose reptilian aesthetics has derived more conversation than his short but sparse discography. Making good on this promise to deliver bangers, GDZILLA returns with new single “High Tension” which arrives with a Jyde Ajala-directed music video. On “High Tension,” GDZILLA wastes no time in showcasing his steller penmanship with bars laced in Yoruba, English and Pidgin. The groovy anthem reintroduces the singer to audiences as he sings about becoming a force to be reckoned with in due time.
PHEELZ – “JOY FT. OLAMIDE
Pheelz has spent the past few years merging his sharp production acumen with his love for performing and singing across charismatic beats. On “Joy,” he recruits Olamide for a bouncy new anthem which contains a melting pot of feel-good melodies. Here, Pheelz is basking in the limelight of his success, grateful for all the opportunities and challenges presented before him with lyrics such as “I just face my grind/and I stack up my money.” Olamide also updates the track with a catchy verse as the pair showcase incredible chemistry and clear-cut delivery.
BALLORANKING – “DON PERIGNON” FT. SHALLIPOPI
Three months ago, Balloranking shared his sophomore LP ‘Ghetto Gospel,’ a snapshot of his gritty upbringing on the streets and the strides he’s made to become a better man. This week, he shares a new EP titled ‘Ghetto Vibrations,’ a 6-tracker which finds the rapper doubling down on his comical antics and delivering memorable lyrics. On the Shallipopi-assisted “Don Perignon,” both artists deliver a self-determined showcase over Amapiano-tinged production. The dance-ready hit is tailor made for the detty December period.
ODEAL – “FINE BY MYSELF”
Odeal is one of the most authentic artists today. On his new LP ‘Thoughts I Never Said,’ the British-Nigerian singer confronts his own psyche and examines his wiring. The standout single “Fine By Myself,” finds him in a pensive and sombre mood, delivering airy and light vocals across light guitar strings and percussive instruments. “I can’t look you in the eyes no more/I’m fine by myself,” he chants over twinkling keys.
SKEPTA & RYDER – “ALL ALONE” FT DRE SIX
In the world of music and fashion, Skepta is a name to be reckoned with. Since the release of his 2021 EP ‘All In,’ the British MC has been quietly making moves in the scene, whether he’s partnering with Burberry or working with Slawn. On his latest release, the rapper taps British singer-songwriter Ryder for a 5-track EP titled ’48 Hours.’ On“For You,” the second track on the project, Skepta rides the wave of a skittish slow-tempo beat which provides the perfect backdrop for his pained raps. The daunting keys later transition into a more upbeat, house-leaning soundscape as he reflects on his life and themes of love.
NTATE TSHEGO – “UTHANDO LWAKHO” FT. FRENCH AUGUST
South African producer, Ntate Tshego teams up with French August for a soulful, mid-tempo rendition on “Uthando Lwakho.” The Deep House track adds to Ntate’s expansive catalogue of emotive displays, characterised by a gradual buildup and hypnotic high-tempo fusions. French August heightens the track several notches as his low-cadence mellifluous vocals transport you to another universe.
It’s finally November, the penultimate month of the music year in review–and what a time in history it currently is. All around the world, Afropop is being welcomed and celebrated with its frontrunners selling out 20,000 capacity stadiums and bagging revered nods at the 65th Grammy Awards, there’s no dearth of accolades or celebration to witness. Now, it’s easier and more common than ever for new stars to arise fully formed with contagious buzz and instant popularity.
With 2024 already poised to herald a new era in the current Afropop vanguard, it’s important to identify and champion the stars of tomorrow: today. As such, this month’s list is a collection of unmissable acts who are making waves in their own corridors of the Internet, and forging impressive careers and formidable music catalogues. Whether you’re into stellar penmanship or appreciate an artist’s overall aesthetic, these selection of artists come formed and ready to gain the attention of loyal fans and share their music with the world. From South Africa’s Mila Smith is delivering a fusion of pop, rock and punk hits at only 19 years old to Ghana’s Anabel Rose taking alternative pop to new heights, these are the Best New Artists of November. enjoy!
Read more below and listen to our uNder playlist here.
Mila Smith
For listeners of Msaki, Tyla, Ayra Starr & more
Mila Smith is the vocalist and songwriter from South Africa who is taking the slow and steady approach to releasing music. Barely two years into her career, the singer has been building a steady fanbase with powerful and honest releases that sound like a late night phone call with your best girlfriends. Her amorous music veers between Pop, R&B, Rock, Punk, Afropop and more, as she elucidates tales about underserving lovers and finding self-confidence.
Pairing a wistful, familiar production acumen with her silky timeless vocals, her music is littered with efficient needle drops of aural healing. Her debut EP ‘You Need Therapy’is a concise snapshot of the dissolution of a relationship and the scars gained from giving your heart out to an undeserving lover. While her inspirations range anywhere from Madonna to Msaki, Black Coffee and more, Mila’s music never strays too far away from her singular vision. Tracks such as “Nice Guy” and “Toxic” reinforce her profound sense of emotional depth and clarity. “I spend a lot of time on lyrics. I define myself as a singer but also as a songwriter and so, I hope that my lyrics are something that people can relate to. A lot of what I write about are universal experiences and in that sense, I hope that that would contribute to the broader South African music scene,” she tells the NATIVE.
AZÜMI
For listeners of Titose, Olayinka Ehi, Mysie & more
The music that rising newcomer AZÜMI has released in the space of a year is impactful enough to earn her a spot on our Best New Artists list this month. Although her discography contains only three songs currently, all of AZÜMI’s work is anchored by her airy and light vocals which is the centrepiece of her craft. Her voice contains the strength of a traditional R&B singer, and elements of powerful Soul and laidback Pop which are constantly at play despite her freewheeling style of writing. An affecting writer in every sense of the word, her music is tailor-made for reflection and pensive late night thoughts.
On recent single “2120,” she delivers a captivating showcase as she addresses an ungrateful lover who clearly underestimates her power. With laidback delivery, she sings to her muse while unafraid to present all her emotions and rough edges, infusing a subtle but human touch that makes “2120” a magical and gratifying listen. The “new” part of Best New Artists is always somewhat subjective, but there’s no denying when an artist has enough of the essential elements to break out of the mold.
Sbahle
For listeners of Ami Faku, Nkosazana Daughter, Sha Sha
Since her debut in 2015, South African singer Sbahle has led a strong run with standout singles such as “Emlanjeni”which have catapulted her into further stardom. Her music pays stunning tribute to her culture and family background of KwaZulu-Natal where she hails from. When her breakout moment came along in 2020 with Ndisumo Mdletshe-produced single, “Emlanjeni,” Sbahle was more than ready to hit the limelight, armed with poignant and intimate stories at her disposal, alongside transcendental melodies and soundscapes that allowed her to connect with audiences despite the language barriers. With the attention gained from this release, Sbahle expanded the scope of her artistry with a captivating Hip-Hop tinged single, “Ipiki,” where her writing skills shone even brighter.
Despite a difficult start to her career, going into 2024, Sbahle is making some of her best and powerful music so far. Her latest single “Bhala Mabhalane” which featured fellow South African vocalist, Amahle is a heart-wrenching rendition that puts her musical abilities on full display. Each word carries a profound sense of emotional depth and reveals an artist subtly widening the scope of her discography.
Anabel Rose
For listeners of Amaarae, 99 Phaces, Cruel Santino
Anabel Rose is certainly a name to get familiar with. Hailing from Ghana’s alternative scene, Anabel Rose’s charming vocals has won the hearts of many listeners with genre-defying music that encapsulates everything this modern moment has to offer. Despite only having a sparse catalogue of music to her name, her unique abilities deserve to be celebrated for its bright spot on the West African sonic canvas.
Her debut single, “Love Me Or Die,” arrived mid-way through 2023 during the summer, and provided a lush soundscape rich with dreamy pop synths assisted by subtle punk-rock sensibilities. “Love me love me say that you want me/I’ll come clean if you say you complete me,” she sings over the song’s hook, declaring her commitment to a deserving lover. Her sophomore single, “Do Not Disturb”was released four months later in October to incredible reception, laced with propuslive and groovy rhythms, the track finds the singer speaking her mind. “I don’t want to do this life/I just wanna enjoy/If you hate me tell my mama,” she chants over futursitic production with laser-precision flow.
Despite these being Anabel’s only solo performances, her abilities continue to shine on collaborations such as DJ Yamz’ 2020 EP ‘kilonshe’and Aviti’s self-titled EP in 2023. As she continues to build herself into her own kind of star, it’s clear that Anabel Rose’s journey to the top is an exciting must-watch.
ZADA
For listeners of Elaine, Brazy, Bellah & more.
The pressure to operate out of your comfort zone might be a heavy decision for new artists in this age. The willingness to experiment with a range of genres and colour outside of the lines has proven successful for artists looking to find their feet. Born in Ethiopia and raised in Canada, rising singer ZADA knows the pressures of experimentation all too well but her music never suffers from any jagged edges.
The singer has concocted a sound that bridges a myriad of genres from Afropop to Folk, neo-soul, R&B and more, offering an undeniably raw and expressive musical landscape in her music. Her music is boundless and sounds atmospheric in delivery with recent single “Deep End” serving as a perfect introduction for any new listeners. On “Deep End,” she paints a portrait of her true self with reflective one-liners and a pensive hook that demands listeners to hold a mirror up to their own life experiences. With clever songwriting and a charismatic voice, GADA is earmarking herself as one of the most exciting acts of today.
