Nigeria’s Trenchtok Community Is Charting the Rise of Mara

Posted on by Melony Akpoghene

Scroll through a certain enclave of Nigerian TikTok colloquially dubbed ‘TrenchTok,’ and you’ll find a concentrated display of unvarnished creativity. In recent years, TrenchTok has become a digital hub for some of the nation’s most audacious young talents, many of whom are dancers central to turning what was once a loose underground experiment into one of the most recognisable new movements in Nigerian pop culture: Mara. 

This is not the first time dance has worked as a pertinent vehicle in the evolution of Nigerian popular music. Dance has always anticipated and amplified major shifts throughout the history of modern Afropop. Every major change in Nigerian popular music has often come with, and been driven by, a distinct dance style. In the late 1990s and early 2000s, Ajegunle, a residential district on the mainland of Lagos, produced Galala, a low-swinging, leg-shuffling dance that moved in sync with the bounce of ragga-inflected songs introduced by Ajegunle-based artists like Daddy Showkey, African China, and Baba Fryo. Later, it morphed into Swo, which was followed by Alanta, with its somewhat comical series of gestures: exaggerated arm flaps, a contorted face, and a leg aloft. Then came the nationwide craze of Yahooze, fueled by Olu Maintain’s hit of the same name, which reflected the controversial lifestyle associated with the rise of internet fraud, commonly known as “Yahoo Yahoo.”

The 2010s were years defined by the formalization of Afropop. As the decade went on, the Efik-based Etighi rose to fame with Iyanya’s seminal hit “Kukere,” its hip-swaying movements inextricably linked with the song’s success. Concurrently, Azonto, despite its Ghanaian origin, found an immense Nigerian foothold. From its stylistic wellspring, P-Square’s Alingo materialized, with Davido’s Skelewu closely in its wake. 

This period also saw the rise of indigenous rap and a new wave of Street-Pop, bringing with it a fresh arsenal of moves. The Lil Kesh-popularized Shoki was a playful, shoulder-based dance with a quirky lean, adaptable, and widely embraced. By the late 2010s, the landscape shifted with the emergence of legwork, a broad category of rapid foot movements that became synonymous with Street-Pop. Mr Real’s “Legbegbe” initiated Shaku Shaku, a dance that involved a shuffling, almost drunken-like movement of the feet and hands. Zlatan Ibile then introduced Zanku, a more aggressive and athletic form of legwork that required high leg lifts and stomps that, ultimately, became his signature. Currently, it’s Mara‘s turn. As an Afrobeats subgenre, Mara draws its sonic elements from House music and EDM, but is rooted in the sound palette of Lagos’ Street-Pop scene. The music is often characterized by dense, polyrhythmic percussion and kicks that typically range between 140-160 BPM. Unlike the slick production of mainstream Afropop, Mara is intentionally abrasive, built on a foundation of raw, frequently distorted drum samples, vocal chops, and unexpected sound effects. 

Long before Street-Pop found a foothold on TikTok, DJs were laying its foundation in clubs, neighbourhood parties, and on platforms like Audiomack and SoundCloud. Similarly,  Mara figures like DJ Cora, DJ Khalipha—whose “Mara Pass Mara” is a standard-bearer—and the ubiquitous DJ YK Mule have been key to building the sound from the ground up. 

As DJ Khalipha described to The NATIVE, an authentic Mara track “blends percussive Afrobeats rhythms with atmospheric synths, deep basslines, and often a dark or moody undertone.” Continuing, he says, “It’s designed to hit you in the chest and pull you into a trance-like groove. The feeling it gives is what defines it: emotional and intense.” You hear this on some popular Mara cuts like DJ YK Mule’s “Northerners Mara,” Rema’s “Ozeba,” and Seyi Vibez’s “Shaolin.”

In many cases, dancers are the first to engage with a new mix. They interpret the beats through choreography, upload their routines, and in doing so, set a track in motion across the digital space. When a song hits, it rarely does so in isolation. It rises through TikTok videos, club appearances, and bootleg uploads, with DJs continually tweaking their mixes to respond to audience reactions.

The dance that is built around Mara is equally intense. The movements are a clear evolution of legwork, but are noticeably different from earlier forms. While Zanku focuses on quick footwork, Mara is a different beast altogether. It pushes the tempo and complexity, demanding a new level of physical dexterity, stamina, coordination, and creative interpretation. This involves full-body contortions, acrobatic leaps, sudden drops to the floor, and a disorienting, almost convulsive, attack that seems to defy anatomical limitations. The legwork, in particular, is executed at an astonishing pace, a blur of quick-fire steps and powerful kicks that sometimes send clouds of dust billowing around their feet; this stirred-up dust is part of the appeal. There’s an impressive, almost daredevil quality to it. 

One of the fascinating aspects of Mara dance is its syncretism. Dancers borrow from everywhere, extending beyond regular African dance forms to subsume elements from Hip-Hop and even martial arts. Some dancers, like the aptly named Kung Fu Master, explicitly draw on Shaolin imagery and kung fu cinema, incorporating a flurry of feints, strikes, kicks, and gravity-defying postures that resemble fight choreography.  “When the beat hits, my body just takes over and does things that sometimes even surprise me,” Kung Fu Master tells The NATIVE.  

The movements are thrillingly untamed, an explosive outpouring of energy that is spontaneous and incredibly skilled, born from an almost compulsive need to innovate. “Mara dance is created from a bunch of freestyles,” says dancer and choreographer AfroFeet. “Most times we just want to try to do something no one has seen or done before.” Teee Dollar, one of the scene’s charismatic choreographers who doubles as an artist, explains it more viscerally: “Creating steps is through vibes and ginger. Inspiration comes from anywhere — the street, Fuji, Naija classics, anywhere. Most of the time, I feel the beat and enter freestyle mode. I move according to what the rhythm shows me. Then I refine it, package it, and, gbam, it’s ready.”

This relentless pursuit of the unprecedented is the core of Mara’s visual identity. Dancers often inject comedic timing, creating a sense of lightheartedness even as they execute mind-boggling feats. It’s not uncommon to see backflips, handsprings, and other gymnastic feats all performed with a captivating looseness, their faces often etched with a mixture of intense concentration and ecstasy. Sometimes they engage in friendly battles, constantly one-upping each other with new steps, twists, and contortions.

Much of Mara’s ascent is owed to TikTok. Since the platform arrived internationally in 2017, its algorithm, which favors discoverability and rewards engaging, short-form content, has proved to be the perfect incubator for dance trends. The Mara dances are not specially designed to be widely replicable in the way TikTok dance trends often are. They are performances: rip-roaring, competitive, meant to impress. And the dancers, many of whom operate without formal training or institutional support, use the app to test out sequences, showcase routines, and build virality, sometimes before a song has even dropped. The late Odogwu Mara was one of the early dancers to popularise this on TikTok. His videos were filled with joy, technical prowess, and an unmistakable hunger to break new ground. 

The impact of this digital ecosystem is profound. For many of these dancers, TikTok serves as a studio, stage, archive, and primary promotional tool. The platform itself may not directly monetize their output and creativity, but it provides considerable visibility. Teee Dollar’s career took off after he started sharing dance videos on TikTok in 2018, which led to significant street recognition and subsequent collaborations with major industry figures like Davido, Olamide, and Seyi Vibez. According to AfroFeet, TikTok has helped to push dancers into believing they can be whoever they want to be. He affirms that, beyond being perceived as vanity metrics, the likes, comments, and shares are a form of direct audience feedback that is very encouraging. This exposure allows talent from the “trenches” to gain a significant following, a path Poco Lee had earlier exemplified through platforms like Instagram, paving the way for dance to be seen as a viable route to fame and influence. 

Even DJ Khalipha attests to the positive utility of TikTok. “TikTok helps me test new beats, gauge audience reactions in real time, and spark dance trends that bring the music to life,” he explains.  “It’s also created a direct feedback loop between me and my community.” Viral fame, even in its often ephemeral TikTok iteration, can translate into brand partnerships with local businesses, mobile phone companies, or beverage brands. There are also performance opportunities at smaller club nights or even, occasionally, as backup for more established artists, and a level of influence that was previously the preserve of those with significant industry backing or connections. 

Moreover, the digital amplification of Mara is translating into tangible real-world influence and commercial viability. The subgenre is expanding beyond its niche origins, infiltrating pop culture and fueling Nigeria’s emerging rave scene. Its imprint is visible on mainstream efforts like Rema’s Grammy-nominated ‘HEIS’ and even in the genre-hopping styles of alté staples like Cruel Santino on the S-Smart-assisted “FTR” and Brazy on “Daddy.” 

At street level, it’s propelling a new wave of hyperlocal Street-Pop, giving the sound both edge and elasticity. Mara is still evolving, its direction and how far it can reach is already being shaped by these talents who have built an informal but powerful engine around it. “Mara is a sound from the trenches, from the gutter, but I see it as the new face of Street-Pop,” Teee Dollar asserts. This ambition also comes with a sense of duty. As an artist, he’s clear-eyed about what’s at stake: “The mission is to take Mara worldwide without losing what makes it real,” he says. “It is the food for the streets. It got me to where I am, and it’s my responsibility to take it further.”

 The Significance of Billboard’s Expansion into Africa

Posted on by Tami Makinde

Last Thursday, at the iconic Troxy venue in East London, Temilade Openiyi took the stage as the inaugural artist to perform at Billboard’s The Stage, held for the first time in London, where music, film, and technology merged at SXSW.  As she entertained the excited crowd with sure-fire favourites like “Burning, “Ice Tea, and “Love Me Jeje,” it was the perfect accompaniment to the night before where the singer and producer had been recognised for the Diamond Award at Billboard’s Global Power Players as a true embodiment of some of the most vital cultural conversations right now.

In a little under six years, Tems has risen from a bright upstart singing in small rooms to a Girl on Fire, who is inching beyond household name status. She has carved out her own space in Nigerian Pop’s crowded corner with her honest and introspective music. The singer has also edged closer to global superstardom and found success in many ways, from bagging Grammy awards and Oscar nods to becoming the first African artist to hold ownership stakes in a Major League Soccer team. Each accolade has brought Tems closer to this moment, where she ushers in a new arc for Billboard as a business and a cultural powerhouse.

Tems’ recognition with Billboard’s Diamond Award was even more momentous, given that she was welcomed into the Global Power Players hall of fame by Nkosyati Khumalo, the newly announced Editor-in-Chief of Billboard Africa, the regional-focused music platform formed in collaboration with Global Venture Partners. “We’ve seen how many African artists have made history on those charts worldwide already. I think it’s a great moment to bring some of that home and not just celebrate in New York or LA or London, but to celebrate it right at home in Cape Town, in Lagos, in Accra,” Khumalo said in a chat with The NATIVE a few hours before the iconic platform announced its entry into its 16th market. “I think we know how powerful music from Africa is, and it’s nice to see it outside, but it’s also nice to celebrate it at home.”

 

Through Billboard Africa, the media conglomerate will introduce its world-class editorial content, music charts, awards, videos, interviews, and exclusive events on the continent, showcasing and projecting the power and diversity of African music to a global audience. It will mark its expansion into the African market with its headquarters in Gaborone, Botswana–a detail that is based on a nuanced and intentional approach to show up on the continent ready to learn, partner, and grow the music ecosystem for both artists, record labels, fans, and music industry professionals. 

While its central base will spring from Botswana’s rich economic climate, the Billboard Africa team says that there will be a regional presence in major cities around Africa. “We need to look at it from a future standpoint, as it pertains to what markets were important for us to want to emulate,” said Billboard Africa managing director, Josh Wilson.“If you look at a place like Botswana with 2.5 million people, its citizens have free healthcare, free education, and free land. These things are important for us to look at. The economic safety, stability, and freedoms were key. So, whether that is a market like Rwanda or Botswana, there are markets that have these elements that truly stand out.”

Each aspect of  Billboard’s expansion into Africa was intentional. From partnering with Tems and showcasing rising Batswana talent like Amantle Brown and British-Nigerian singer LULU in London, itself a cultural melting pot, to aligning with a global opportunity like Power Players, which celebrated the best talent working behind the scenes in the music industry. Mike Van, the CEO of Billboard, echoes this sentiment, reiterating that the entire team approached the launch with absolute care, paying attention to strike a balanced representation of both diaspora audiences and listeners back at home. “We are also intentional about laying the proper groundwork in helping the African music industry, helping the infrastructure of it to be built. We intend to be a very foundational pillar to that.”

Taking on the arduous task of representing an entire continent of 54 distinct nations in language, culture, and expressions is no easy feat. Accurate representation is crucial to gaining the trust of audiences, and Billboard Africa is keen to understand the way our culture, dialect, values, and heritage shape us and the music we create. Khumalo believes that these hybrid expressions of culture are the sweet spot when telling truly representative stories. “There’s the kind of third culture element of an artist from one culture living somewhere else and existing at the hybrid,” he explained. “I think a lot of that will also be told through the charts, where, as we have the opportunity to expand those and to also dig into genres and educate the rest of the world about some of these genres that exist, that are also hybrids of various things, and also have deep cultural roots across countries and within countries, but also cross-continentally.”

 

Given this context, it’s easy to see how Billboard’s methodological approach to its music charts works and how it intends to replicate that formula in Africa. Billboard’s global charts are based on an industry-wide accepted standard collated in partnership with Luminate, which ingests and verifies data from all major labels, DSPs, sales, and hard copies since its first chart was launched in 1940. “We plan to take that credibility, that authenticity, that worldwide acceptance of the validity of our data and our charts, through Africa as well,” says Van about his team’s approach. “I naturally understand that there is scepticism by those local audiences or those local teams and businesses of people within the continent in terms of how are we going to show up?”

While Billboard is already building music data in countries like Nigeria, South Africa, Ghana, and the Democratic Republic of Congo, this begins to trail off once it gets to smaller markets on the continent. The plan is to now bring this same value proposition to more countries, artists, labels, and even more music fans. “This is not just about starting a publication for us,” says Wilson. “It’s about creating an ecosystem of growth and development in the music industry. So, charts and data, you’ve got to think about them as a value chain as part of the ecosystem. This is about growing an industry to make sure that we’re growing that commercially, as well as making sure that we are informing the public at large.”

All of this boils down to the pan-African vision of boosting a diverse, omnivorous, but comprehensive and collaborative ecosystem.  “I think it’s important to mention that as a single market, you look at Africa, we’re the sixth or seventh biggest market in the world,” says Wilson. “When we look at the music industry and with these charts, that’s what we can start to create, is looking at more as a single market rather than a divided market.”  Billboard aims to create reservoirs of knowledge about music emerging from every part of the continent, providing contextual information to guide artists, labels, and fans. “We’re not trying to promote one person over another or one country over another, by any means,” Khumalo adds. “If we can come in with an independent platform, that also levels the playing field in a lot of ways and makes that data available on many different fronts, from a commercial, cultural, and entertainment, and arts and culture perspective. Collaborators and brands and different industries that are looking to work with artists and new artists will have so much more visibility into who they are and what they’re about through a platform like this.”

This moment would not be possible without the decades of groundwork laid by African artists, teams, labels, and professionals who have helped bolster the industry to prosperity and boost its economic and cultural power. Indeed, reports show that Afropop and Afrobeats fans spend 121% more on music monthly than the average US listener, while genres like Afrobeats and Amapiano videos saw nearly four billion global views on Vevo in 2023, reflecting a 56% year-on-year increase in viewership. Now, Billboard Africa wants to help elevate, recognise, and build an infrastructure for sustainable growth. This will include a 13 million dollar investment into Botswana, including financial services for seamless payments and transfers, commercial residences, arenas, energy storage, research, and policy. “This is not just about the music, this is about the growth of the continent and also the recognition of the continent, and the collaboration of the continent,” says Wilson.

Ultimately, Billboard’s entry into Africa is one of recognition of the dynamic power of music on the continent and a desire to place local music communities at the heart of that expansion. In today’s fragmented news landscape, maintaining trust and authenticity is challenging for brands. Still, Billboard hopes to emerge as a credible source, leveraging its global authority to resonate with music lovers and power existing structures. “Live experiences are what Gen Z and Gen Alpha demand,” Van offers.“For us to leverage our proven business practices as well as our DNA to give fans, as well as the music industry, those kinds of live experiences that they expect, I think, is going to be a massive factor for us in terms of how we’re going to grow.” 

Jeriq And Moolah Greenz Team Up With BLOKENT On Catchy “Get The Bag”

Posted on by The Native

Eastern Nigeria is experiencing a Hip-Hop renaissance with fresh talent like Nowlee, K-Large, and Hugo-P springing forth from the region with a dizzying regularity. Up-and-coming label, BLOKENT, is banking on that wave growing into a movement that achieves significant success, officially marking their debut with a highly infectious song appropriately called “GET THE BAG,” reflecting the doggedness that defines the new generation of Eastern Nigerian hip-hop

Featuring the talents of Moolah Greenz and Jeriq, “GET THE BAG” delivers an infectious energy and a message that resonates with anyone on the grind. With hard-hitting 808s and a trap-influenced bounce, “GET THE BAG” is centered around the relentless pursuit of success, encouraging listeners to stay hungry, work hard, and live life on their terms.  On the song that barely scratches two minutes, Moolah Greenz provides the catchy hook, perfectly capturing the essence of the hustle and making the track instantly memorable, while Jeriq delivers a fiery verse in his signature raspy flow, providing narrative and authenticity for the song with his raw, powerful lyrics.

Produced by 911Towerz, “GET THE BAG” features modern trap drums with deep bass lines and infectious melodies, creating a sound that’s both fresh and undeniably in the lineage of the ominous-sounding hip-hop anthems coming out of Eastern Nigeria. Speaking about the song, BLOKENT describes it as call to action: “‘GET THE BAG’ is all about ambition and the grind,” he says. “It’s for everyone who is putting in the work to make their dreams come true. Working with Moolah Greenz and Jeriq on this was amazing—they both brought their a-game, and with 911Towerz delivering a top-notch beat, the result is something special.”

Listen to “ GET THE BAG “ here. 

Filmmaker Momo Spaine is changing the way Nollywood tells women’s stories

Posted on by Tayo Bero

For many viewers, Amazon Prime’s After 30 will register as the latest sexy Lagos-based romance to hit streaming services, and one that gives a fresh voice (and look) to that beloved four-girls-just-trying-to-survive-in-a-big-city motif. But for the film’s director, Momo Spaine, and the legions of fans who have been clamoring for a follow-up to the original series that the film is based on, this project has been a long time coming. 

Spaine first cut her teeth in filmmaking on After 30’s predecessor, Before 30. Released in 2016, Before 30 was a series that followed the love lives of four young women navigating the well-known, uniquely Nigerian pressures to settle down and get married before they hit 30. Now, armed with nearly a decade’s worth of experience and a sweet Amazon production budget, Spaine has brought the four women’s stories to the big screen, picking up eight years after viewers last saw them.  And while there’s no shortage of stories about women navigating love and career life in Nigeria — think hit series like Unmarried, Smart Money Woman and Skinny girl in transit — Spaine brings an attention to detail that radiates as you watch its four lead actresses, Dami Adegbite, Beverly Naya, Ane Ocha and Meg Otanwa, reprise their starring roles. 

From carefully curated color palettes to meticulous costume design to hair and makeup, the pages of sketches and decks that Spaine shows me on our late-May Zoom call are nothing short of a creative shrine to a very personal story. “I had hours of conversations with my [director of photography] and with our makeup artist, Lillian,” she says. “Talking about [things like] light reflecting makeup, what kind of underpainting we’re doing under the foundation so that when the light hits their skin it just glows and pops.”

Spaine’s filmmaking journey began when she was attending university in South Africa in the early 2010s. Back then, she’d assist her close family friend and veteran rapper, Sasha P, whenever she came to South Africa to shoot music videos. “That was like my first proper exposure to filmmaking, and I just fell in love,” Spaine recalls. 

It was toward the end of her time in South Africa that Spaine received a script for the pilot episode of what would become Before 30. Soon after, she started an internship with the show’s producers, Nemsia Productions, who produced After 30, as well as other projects like Soft Love and the AMVCA-award-winning Breath of Life. Spaine worked with Nemsia over the roughly four years it took to make Before 30, and helped build the story and the audience that helped make its follow-up, After 30, possible.  

”People loved the characters, they loved that the story was relatable,” she said of the positive response to the show. “It felt different. It felt like something that was slightly more elevated in terms of the storytelling, [and] the character development.”

Spaine also attributes the show’s success to the fact that it took risks with the kinds of stories it told. “Back then, you were talking about a Muslim couple bringing women into their marriage for sex, about a sexually free character in Nkem. We’re also talking about a born-again virgin who wanted to use spirituality to reverse her past sexual relations. So it was a lot of edge for that time as well, that I think we got feedback on being very successful.”

Before 30 was re-released on Netflix in 2019, and then saw a resurgence during the COVID-19-necessitated lockdowns in 2020 that brought a broader audience. After two years on Netflix, Amazon commissioned After 30 to continue the women’s story with a look at where they are now. Spaine spoke to us about how her personal experiences helped shape the film, how she’s continuing to push the envelope in terms of what kinds of Nigerian stories are being told, and what she hopes 

This interview has been edited for length and clarity. 

I’m assuming there are parts of you that are in this movie. Can you tell me about that?

I struggle to think of a part of the film that does not have a piece of me in it. But starting with the characters, I’ve always had my favorites. I fancy myself a [Temi] in some ways, which is the lead character. I love fashion, I have that legal background, and I have almost the same relationship with my mom. But Nkem (played by Beverly Naya) is who I would like to be: that level of confidence, sexiness, just being this powerful woman that does what she wants and is unapologetic about it, but is still soft and honest at heart. Ama, for me, is an expression of who I think we should all aspire to be. The kind of good, pure-hearted, well-intentioned person, — that youthful, naive energy. And then for Aisha, it’s just that strength; she already has the security, but you also kind of have to show that being married does not mean all your problems are solved. 

All these years after making the original show, how do you think the ways that you have grown as a person show up in the way that these characters have changed?

For [Temi], I don’t know, [Temi] pisses me off. She’s very confused. I don’t agree with how she runs her dating life. Like, I could not stand Carrie Bradshaw, and I love Sex and the City, but all she does is make bad decisions. And that’s kind of what makes a complex and dynamic character. With [Ama], I wanted to do a storyline where a character had to contend with their sexual identity, but from a very respectful place, from a true place that was not going to make fun of or minimize that experience. And for Aisha, the biggest thing with her is the conflicts that she has with Nkem. In the last eight to 10 years of my life, I’ve fallen out with friends that I thought we would die together. That kind of devastating friendship fight where you don’t think you can come back from. 

Talk to me about the music for the show, Before 30. How did you put that together, and what decisions went into that process?

The music on this show makes me so proud. I was not as involved in the music of season one. We had no budget for music, so all we could do was approach people. After begging and pleading, maybe two people collected money; the other people just gave us permission. Bez, I think, just gave us permission because he was close with someone on the team at the time.I begged TeeZee for “Toyin” – we were just going around asking family members who had made music. But then there are ones that were chosen because they were so perfect, like Temi Dollface and Blackmagic. So half of it was just using our community,  music from our existing community.  And the other half of it was just begging, and everybody was upcoming at that time. Everyone was so willing back then to do things as a favor or to do things because they liked the idea.

What was it like securing music this time around for the film?

I’m really happy that the industry has boomed now, but even with what we thought was a comfortable budget, we could not get all the artists [we wanted] for the film. 

Kaline [our music supervisor and the composer on the film], did a good job of going back to the drawing board like we did in season one, and just using our community. So, Kaline was able to pull together a bunch of songs from artists [who were willing to work with our budgets]. Everybody got paid, but it wasn’t a massive life-changing amount. They just did it because they believed in the story, and they wanted their music to be attached to the film.

What was your favourite part of making Before 30? 

My favorite part was just getting to direct. Honestly, I spent seven years of my life producing thinking, “Okay, this is what I’m good at,” and I feel like I have a natural flair for producing, but I wouldn’t say I ever enjoyed it. It’s just something I knew I could do. Directing makes me so happy. I’m just like, “Why have I been wasting my life producing?” Every time I’m directing, I’m at my best professionally. I get to be creative, I get to tell people what to do because that is my favorite thing in life. So, just getting to direct in itself was a blessing and a journey of self-discovery. I realized: this is what I’m supposed to be doing with my life, this is what makes me happy. 

This film was produced by Nemsia, but you have your own production company called Blush and Slate. Can you tell us about that?  

Now that Before 30 is out in the ether, I am just excited to continue building a company that centers stories about women, because I really think those are the stories that I am best placed to tell. I know how to speak to women, and I know what they care about. I care that they come off looking the way that they want to look. Whether it’s commercial, reality, documentary, or scripted [stuff], I gravitate towards content that either centers women or is targeting female audiences. So, just continuing to be able to build my own style, my own company, and my repertoire of films with Blush and State is what I am most excited about. Blush and Slate is a vehicle that allows me to express myself fully creatively, 

For people who have a story and don’t know where to start,  what is your advice?

First of all, call Blush and Slate. If you don’t know where to start, hire a production company or a producer who sees your vision and believes in it and is willing to help you move it to the end. If you are that person and you have the time and resources, and energy to produce it yourself, then just get started. If it’s a documentary, book your first interview.

You don’t have to film the interview. Just figure out who the first person you want to talk to in your documentary is. Call them and have a conversation with them. Ask them if they would even be interested in featuring in a documentary. You just have to start. If it’s a scripted thing, write the first page of the script. You don’t have to write the whole script. Just write the first thing. For people who want to produce things, it’s very overwhelming because there are 2000 things that you need to do at the same time to really kick off a production. But there’s only one way to eat an elephant, and that’s bite by bite. So you still have to do the first thing that you can do and then build the momentum from there. Ideas in your head don’t do anyone any good.

Braye Confronts The Complexity Of Human Connections On ‘I Wish I Had More Time’ 

Posted on by Wale Oloworekende

As a young boy growing up in Port Harcourt, Braye found solace in the sweet ecstasy of music. “I’ve kinda always sung,” the singer and songwriter says about his relationship with music. “Since I was a kid. Then, when I was about 13, I started writing songs and arranging them into verses and choruses, creating full songs. Since then, I’ve listened to a lot of music and written a lot too.”

While music has remained a constant, his life has always been in a state of flux. At age 15, he moved to Accra to study at Regent University while trying to find himself as a young adult. Importantly, being in Ghana provided much-needed conviction to chase his music dreams. In Accra’s creative community, he also started to hone his skills: making acquaintances with acts like Kwesi Arthur and Kayso and recording demos that didn’t quite see the light of day. 

Following a return to Nigeria in 2018, Braye has spent considerable time sharpening his music while navigating a move from his Port Harcourt base to the chaotic frenzy of  Lagos. It’s a transition that has been taken in stride while reflecting on years of experience that have led him to be one of the most exciting up-and-coming acts in Nigeria. His reflections find expression on his debut project, ‘I Wish I Had More Time,’ a quaint four-song collection of dreamy jazz-influenced songs that examine the tenuous nature of human connections and the scope of ambition. Keeping up with the fluid elegance that he stepped out with on “Bossa Nova” and “Painless Melody,” the songs on ‘I Wish I Had More Time’  are delicate vignettes that take inspiration from jazz, neo-soul, and texturised reggae.

Following the release of  ‘I Wish I Had More Time,’  we had a chat with Braye about his career, changes, and what inspires him. 

You came from Port Harcourt to Lagos. How did you navigate that move, and what convinced you to make the move? 

Since I was like 14, I’ve just always felt that music was the thing I knew how to do best. So I kept on doing it. People convinced me to record my songs, but I didn’t feel any purpose behind it until 2022. I was getting there, slowly finding my purpose with music, until I met Boj, and he convinced me to come. And I did. I moved from PH to Abuja, and in the same year, I moved to Lagos. 

Your music has a heavy jazz influence. Where does that come from? 

I listen to quite a lot of jazz. I have a haphazard collection of jazz songs from different eras and styles. From Nat King Cole to Frank Sinatra, Dean Martin, Nina, Lee Morgan, Miles, Herbie Hancock, to Hugh Masakela, Fela. There’s quite a lot to be honest. 

What’s your creative process like? 

Sometimes I get ideas from nowhere, sometimes I get ideas from listening to music. Most times, I just freestyle haphazardly, then I take that freestyle and shape it into a song. 

What’s the inspiration for I Wish I Had More Time?  

The song was made in a 3-minute freestyle I did with Michael Brun, then I went back to the apartment I shared with DUKE where the full production was done. I believe the lyrics came from a place of regret and remorse. It was inspired by the complex nature of human connections, where love, emotional attachment, and desire transcend into a kind of war for survival.

How does it feel to have your debut project out?

It feels great, I’m so grateful. Doing music is a privilege. I’m excited that I am now about to go into the next phase with my ideas. The fact that I hadn’t released this kept those other ideas locked somewhere, but now I’m finally free to begin preparations for more.

Listen to I Wish I Had More Time here. 

Anthony Azekwoh Wants To Design A Visual Vocabulary For Nigerian Art 

Posted on by Wale Oloworekende

One Wednesday afternoon in May, mid-answer about the growing popularity of African art, Anthony Azekwoh ponders the effect he wants his art–an intergral part of the rising wave of African art globally– to have on people. “I just want people to always look at my work and be in awe,” he finally says after quietly conferring with himself for less than a nanosecond.  In a career spanning a decade of work, Azekwoh has found fresh ways to keep his audience engaged and enraptured, thanks to an engaging style that has seen him explore his interests in painting and sculpting. 

More impressively, he has garnered global recognition for paintings such as “The Red Man” and “Yasuke,” which present a vibrant vision of African art rooted in mythology and urban folklore. It’s all part of his plan to create a visual databank of Nigerian and African art.  “If I ask you who Thor is, there’s a mental image of him, but if I ask you who Sango is, it’s muddy,” he says. “It’s the same with Amadioha and other African folk heroes. I’m trying to add to the visual vocabulary that allows people to visualise our culture.”

Having turned 25 years old this year, Azekwoh’s focus is now on paying homage to the places, people, and experiences that have shaped his rise in the art world. A new exhibition, The Stars I Followed Home, details the history of his career faithfully, serving as a visual memoir of his journey. Divided into three sections, The Stars I Followed Home features pieces that offer a glimpse into the beginning of Azekwoh’s career, as well as portraits of a series of individuals who embody his interpretation of Lagos. The final section, aptly titled The Core, presents an intimate self-portrait. 

Our conversation, lightly edited, follows below. 

How did you get into art?

It started in December 2016. My laptop had broken, and my mind starts going wild if I’m not doing something creative, so I needed to find something to express myself. There were leftover A4 papers and pencils in the house, so I just started drawing designs and other things. A couple of months later, I was looking at the work of Duro Arts, Duks Art, and people like that, and I was like, “I’m trying to do this.” I started teaching myself how to draw with a mouse. From there, an American artist said he’d pay me $50 to do the cover art for his song. I did the cover, and I’ve just gone down this road since then. 

You left university at some point. Did that in any way shape your artistic journey?

At some point, I found myself in a tough spot with school. I was at Covenant University, and the place didn’t make sense. I thought about it and came to a realization that this thing was bad and depressing me, and on the other hand, I’m making actual waves in this other field, and I can go the distance. So, I decided to pursue art and see if it’s a good fit. 

You mentioned Duks Art and Duro Arts. Were there other people that you admired?

There were artists like Renike, Chigozie Obi, and Niyi Okeowo. They are people whom I liked, and I’ve disturbed them when I was around 17 years old. I would tell them what I wanted to do and ask for their advice. All of these people are now my friends, and they were always very helpful. 

You started drawing on A4 paper, but now draw digitally. What do you think is the biggest difference between drawing digitally and manually?

What I did on paper was very brief. I taught myself to draw on my computer; that’s where I honed my skill. So, I didn’t have that transition because all I know is drawing on Photoshop and Procreate. 

How did you settle on a style that works for you?

For me, finding a style has been the byproduct of experimenting and figuring out what I enjoy. I try not to concentrate on what I think people might like or what I think might sell; I concentrate on work that I fuck with. 

“Yasuke” is one of your most famous paintings. How did you approach making that? How did you react to the acclaim it received?

For context, I had made the “Red Man,” and that had gone super viral. It was kind of fucked because I’d just turned 20 and I didn’t have a strong sense of self. I kept trying to get another hit because, using music terms, you just want to have another hit because everyone is asking you for it, but that’s just not how it works. I kept on thinking, “Damn, am I a one painting wonder?” At some point, I sat down and just told myself to do what I know. So, I painted this story I’d heard of this Japanese samurai who came from Africa. It seemed very interesting to me, so I did something in that style. It was just one of those things where you’re like, “Let me just see,” and it went viral again. At this time, I was more ready and secure. I didn’t panic and I was just chill 

You’ve been learning how to sculpt digitally, how much effort does it require of you to lean into another medium?

I’ve always wanted to sculpt. I just didn’t have the money for the tools, but two years ago, I was at a point where I could start it. I was able to get the tools for it, and nothing was stopping me. It was very frustrating at first, but over time, I’ve been able to get to a point where it’s like this is what I want to do. Right now, I’m working on a big project, there’s a lot that I’m trying to say and tell in terms of African storytelling. 

You mentioned your work being inspired by African folklore and mythology. Where did that influence come from?

As a child, I was always fascinated by our stories and culture and how they interplay with who we are and how we relate with one another. So, I’ve just grown into it. For example, if I ask you who Thor is, there’s a mental image of him, but if I ask you who Sango is, it’s muddy. It’s the same with Amadioha and other African folk heroes. I’m trying to add to the visual vocabulary that allows people to visualise our culture. With the Owambe series, sculpting the Nigerian culture in marble is something that nobody has ever seen. The minute you see that, you can recognize that there’s something here. 

Transformation is a theme that is regularly referenced in your work. Is it deliberate, or is it just something that comes up?

I feel like, as a human being, as you grow up, you experience transformation. When you also get the chance to represent your community or something huge, you have to transform into something bigger, and that plays into my work. For my journey, I’ve had to transform into something stronger than who I normally am. I’ve become more focused, disciplined, and wiser than I was before. 

You recently turned 25. How does that feel with the knowledge of where you started from?

I’m just happy to be here.  It’s been a very crazy and long journey, so I’ve just been resting and preparing for the show. I’m just content with where life has been. 

What inspired The Stars I Followed Home?

It came from a need to showcase how I’m feeling artistically. I want people to see where all these influences have led me. I wanted people to be able to step into that, and at the heart of the exhibition is my new collection, Children of the Sun. It’s 25 new paintings, 25 editions, all priced at 25,000 naira. As an artist, I feel like if Nigerians don’t own my paintings then I’ve fucked up. 

What did working on The Stars I Followed Home show you about yourself?

Back in 2020, I used to be very militant. I would just wake up and be like, “This month, I want to write a book,” and I’d be able to see it through. I’d write 3,000 words every day, and if I failed on one day, I’d pass it on to the next day. I used to be very militant when I started drawing, too. I’d draw different studies to fix my art. It was a very disciplined approach, but over the years, my life got more complicated. There was family and salaries to think of, and I felt like I didn’t have that edge anymore. Working on The Stars I Followed Home made me realise that I still had that edge because I was working on many projects from January to April. By the time I locked in to work on this series, it was the last week of April, and I essentially had 10 days to pull off the paintings. It was insane, but I learned that I still had that edge and it hadn’t gone anywhere. It was really beautiful to bring forth beautiful work again. 

You reference Lagos a lot in your work. How central to your artistic vision is the city?

Lagos is in everything that I’ve done. I was born and raised in Lagos. It’s rough, dangerous, and it can be insane sometimes, but when you look at the people of Lagos, it amazes you. Despite the city’s madness, there are still people pushing, and that’s the resilience that I want to showcase. My parents are resilient, my siblings are resilient, and my friends are resilient. That strength is something that I always want to showcase in my work. 

What’s happening next for you?

We have a plan to release a drop of new prints. We are working on a sculpture show that I’m trying to push and that I’m excited about. 

uNder: Best New Artists (May, 2025)

Posted on by The Native

The core of our mission at The NATIVE has always been to celebrate great music from Africa and the Black diaspora. It’s what led us to create our uNder column to spotlight talented acts who are primed for a breakthrough. Across over 30 editions, we have shared some of our favourite up-and-coming artists with you and have seen some of them rise to unimaginable heights that we could scarcely have imagined when we first encountered them and were excited by their work. 

The names on our list might be unfamiliar to you yet, but trust us – they possess the same level of ingenuity, grit, and improvisational excellence that put all our uNderr alumni on our radar. Whether it’s the streetwise confidence and swagger of Zaylevelten, the clear sonic identity of Joeyturks, the sharp-witted raps of Fimi, or the clear-eyed vision of Lia Butler, these artists have a gift that makes them great ambassadors of Africa’s ever-evolving musical landscape. 

Fimi

For Fans of: Sasha P, Eva Alordiah, and SGaWD. 

Almost yearly, conversations on X occur about the state of Nigerian Hip-hop and its direction, as Afrobeats continues to be the most dominant music culture in the country. For the longest time, Hip-hop in Nigeria had an unabashed American sheen about it, directly mirroring the thematic inspiration, visual elements, and delivery style of the New York-pioneered art form. The rise of indigenous genres in Nigeria and a pivot toward the authenticity that they proffer has left Hip-hop on the ropes in Nigeria. Recently, though, a new crop of rappers has emerged to reshape Hip-hop around local Nigerian contexts and innuendos. 

Rising star Fimi holds the epistolary essence of the genre without losing sight of her immediate society. When hip-hop emerged in New York over 50 years ago, it was an instrument for archiving, in part, the institutional racism, societal neglect, and virulent discrimination that African-Americans faced in their interaction with the world around them. In many ways, Fimi wields Hip-hop like a tool in the same fashion, using her raps as a statement of record to recount her experiences with naysayers, social obligations, and the sexism that she faces in day-to-day life. As a woman navigating life in Nigeria, she’s intimately aware of the potential landmines that can show up, and she confronts them with a sardonic rage. On “Spitting,” she recounts the story of a teacher who said she was ugly because her “melanin body dark as fuck” but, liberated in the margins of her track, she admits, “For a poor lil girl it was a problem/ Now I wear it around like a emblem.”

Unlike many of her Hip-hop peers, Fimi has an intuitive understanding of melody, rapping over instrumentals and beats that are sweet cocktails of Neo-soul, Jazz, and buttery Soul. Her lithe voice also allows her to lean into spurts of melodies with an insouciant edge. 2024’s “Welcome To Therapy” is a contemplative letter to herself about her journey as an artist and the cost of blowing up, while “Viral” is a technically flawless showing of her capability for world-building.  Things have kicked up a notch for Fimi in 2025 with a bigger audience dialled in for her work. “Pookie” finds her reflecting on a love interest and the factors that make their relationship feel like it’s headed for the rocks. 

Still, Fimi is at her best when she’s satirically picking apart deep-rooted social norms that, too often, function as a tool for restricting women’s autonomy.  Her two-pack April release, ‘Halo,’ confronts these issues head-on: the titular track takes aims at aunties who want to impose puritanical ideas on her while she’s defiantly reiterating that she’s shed all her insecurities. Fimi’s gift for crafting euphonious rap anthems shows up on the other song, “BEEF,” a sweeping Hip-hop statement that casts her as a wordsmith ready to step up anyone who doesn’t rate her work. “I’m a big name, don’t try me, don’t test me,” she warns over the mid-tempo instrumental.  Things are much lighter on “Hei God,” a party-starting collaboration with WeTalkSound and SGaWD that’s all about turning up for a great time, but Fimi still makes a mark with her distinctive verse. Boasting a sweltering flow and nimble mastery of melodic interludes to go with her skills, Fimi is well on her way to establishing herself as the rare star with a cogent message that needs to be listened to. – W.O.

 

Lia Butler

For Fans of: Shekhinah, Ami Faku, and Amanda Black 

In today’s hyper-commercialised music ecosystem, artists are eager to define their music as a genre with little or no groundbreaking work being done sonically, but Lia Butler – born Nombulelo Mzebo – bucks that trend with a lilting sound that could only have emerged from the hallways of her mind. In the Durban native’s hand, the dividing lines between Hip-hop, Soul, and dreamy R&B disintegrate to present a sound that is incisive and has modern connotations and triggers, but feels packed with prescient wisdom. Growing up, Butler’s interest in music was shaped by the canonical soul and R&B work from Whitney Houston, Erykah Badu, and Beyoncé that she heard around her. Back home, acts like Ladysmith Black Mambazo, Brenda Fassie, and Thandiswa Mazwai provided more inspiration for her. 

Across her career, Lia Butler has done things her way, prioritising expression over conformity. SoundCloud has proven to be an adept lab for her work. ‘AMAKHAVA,’ her first project, is a sweet cocktail of Jazz and trance music that finds her exploring – and celebrating – the multifaceted nature of Blackness. There are wispy odes to Black beauty and spirituality as well as balmy ditties about Black love. A series of freestyles and remixes has further prepared her for the bright lights of the mainstream. In 2023, she released “U C U,” fully tapping into the emotional undercurrents that power her Neo-Zulu sound. 

2024 proved to be the biggest year of her career yet. Her song “Imimangaliso” was a candid reflection on the anguish of lost love. It was inspired by being ghosted, but rather than wallow in the pain of that experience, she chose to focus on the feeling of falling in love for the first time. She’s also featured prominently across ‘MAGLERA TAPES,’ the December mixtape by Maglera Doe Boy. Slowly, Lia Butler is building up her profile as a custodian of a new sound that centers her heritage, and she’s gaining attention without yielding an inch of who she is. – W.O.

Zaylevelten

For Fans of: Maison2500, Psycho YP, and New World Ray

In recent years, Ikorodu, one of the five administrative divisions of Lagos State, has grown to become one of the city’s most fruitful musical incubator hubs. While the populous division already boasts names like Lojay, Mohbad, and Seyi Vibez, the latest promising act coming out of there is an unlikely underground rap star known as Zaylevelten. “watching me,” the rapper’s breakout single from earlier in the year, has already amassed over 100,000 streams on Spotify alone and, perhaps more impressively, also earned him several cosigns from the likes of Davido, Blaqbonez, YT, Cruel Santino, Odunsi The Engine, and just about anyone with their ears to the ground. 

Before his breakthrough moment and the gazillion co-signs started rolling in, Zaylevelten went by Aizay, an exciting young rapper who sounds like Yeat if he grew up in Ikorodu. His style owes its influence to the buzzy, raw, and hyper-energetic Rage Rap subgenre that has grown increasingly popular in the United States in the last decade, but his lyricism is woven in distinctly Nigerian fashion. “Poe Up,” his official debut single, came in 2021 before going on to release a host of other tracks like “Rich as $HiT.” After releasing music under the Aizay moniker for about two years, the rapper changed his name to Zaylevelten in 2023. In an interview from earlier in the year, he explained that he changed his name because most people couldn’t pronounce Aizay right. While the name change didn’t necessarily come with a change of style, an added streetwise confidence and swagger came with his drops under the new moniker. 

In early 2024, he released “No Gree,” a fan favourite amongst his growing cult following, before releasing ‘l0cked 1n,’ his first project under his present stage name. The 7-track EP produced melodious cuts like “rush” and “what1become” as well as slappers like the title track, and “yaad,” both of which are engineered to transport you from the privacy of your room to the sweltering center of a mosh pit. The rapper built on the relative success of ‘l0cked 1n’ with the release of his debut album ‘before 1t g0t crazy,’ an insane premonition that can only come from a place of utmost belief in one’s ability. His unbridled confidence and charisma are on display across the project’s 15 tracks, dialling up the swag, chaos, and decibels to new levels. Cuts like “nina,” “money calling,” “dr0p” and “jago” showed just how smooth and polished his style had become even before his breakthrough moment came with “watching me.” Now with even more eyes on the rising rapper, he’s primed to make the jump from underground renegade to bona fide Rap star. One of his unreleased singles, “Maye,” is already making the rounds on social media, and with a new project possibly on the way, we might be about to witness just how crazy it can get. – B.A.

Joeyturks

For Fans of: Sute Iwar, Maya Amolo, and MAUIMØØN

Joeyturks’ discography is extremely lean, only releasing five official tracks in as many years, but that’s enough songs for him to make a serious impression. As a founding member of Ghanaian collective SuperJazzClub, the talented drummer, singer, and producer spends most of his time expanding the scope of his group’s expansive sound that subsumes genres like R&B, Neo-soul, Reggae, Hip-hop, and even muted washes of Dubstep. He, however, takes a more focused approach with his solo tracks, opting for something more understated and breezy. “Always,” his official debut solo single from 2020, is a mellow confessional that excels more for its layered and immersive production than for its lyricism. The swirling melodies that carry the song’s sparse lyrics only serve to augment the hypnotic drums and guitar strums that give the record its balmy feel. “Selfless,” his follow-up track, is equally similar in its composition, lyricism, and warmth.

2023’s “LEANING,” which features Boistory, is a clear standout in the artist’s discography. On the sensual duet, Joeyturks is mostly on production duty, ceding lead vocal duties to the late singer, whose caramel vocals excellently complement the record’s lush production. “BAli,” the most upbeat song the producer has released so far, is also spacey and warm, evoking a keen sense of serenity that’s synonymous with the shores of the island it takes inspiration from.

Even with just a handful of tracks, the Ghanaian singer and producer has managed to carve out a clear sonic identity that feels instantly summery and tender. Even collaborations with the likes of AYLØ, Joya Mooi, and Oshunda all land in that warm, sweet spot that all his other solo records seem to also exist in. His latest release, “CRUISE,” is just like the name suggests: a light and glimmery smooth jam that drifts by before you even realize it. – B.A.

 

Kwate teams up with fast-rising producer Mikaba for new single “Usain Bolt (Speed)”

Posted on by The Native

Edo-born singer Kwate recently shared his first official single of the year, “Usain Bolt (Speed).” The new single comes off the back of 2024’s ‘Shout Out to My Ex,’ his latest project that houses the semi-viral title track, which has found success on streaming platforms and social media. 

Lyrically, “Usain Bolt (Speed)” is a classic grass to grace anthem, with the Edo-native contrasting his modest upbringing to his current affluent status. Sonically, things are more interesting, with the singer collaborating with Mikaba – a fast-rising producer, responsible for songs like Davido’s “Awuke” and Ayra Starr’s “Gimme Dat” – who delivers an infectious beat that fuses traditional Hausa elements with modern Afropop rhythms. 

In a recent press release discussing “Usain Bolt (Speed),” Kwate explains that he’s particular about his approach to music making. Even though a couple of his songs have found some success on social media, the singer adds that he’s not making music that’s necessarily tailored to TikTok or other social media platforms. “Sometimes I think people end up trying to find ways to make TikTok-worthy music, or music that will trend on TikTok. And I think sometimes that takes the heart out of the music. It has to start with authenticity. If you can feel like an artist is being honest and if they are being true to themselves, I think that’s what we as human beings can pick up on, even if you don’t know them personally,” he explains. 

Speaking specifically about his latest drop, he reveals that the record was inspired by pain, recovery and divine speed. “It’s more than music; it’s a testimony. From coma to comeback, this is resurrection.”

Listen to “Usain Bolt (Speed),” here.

 

 

Gilmore Launches VELUM Studios To Support Digital Creators 

Posted on by Wale Oloworekende

Africa’s creative and digital economy is growing rapidly. With over 570 million internet users across the continent and social media penetration increasing by the year, opportunities for content-led careers have never been greater. Popular content creator and skitmaker, Gilmore, knows about the opportunities that abound on the internet after rising to fame thanks to his comedic skits that reflect the lived experience of millions of Nigerians. 

Since he rose to fame during the COVID-19 pandemic, Gilmore has risen to fame with over 100,000 YouTube subscribers and millions of views. Still, in many ways, his success story is an outlier with many talented African content creators lacking access to the structure, resources, and training needed to scale their influence globally. To solve those issues, Gilmore has launched VELUM Studio, an innovative content creation studio built to empower Africa’s emerging talent. Founded by the viral sensation in conjunction with music label executives Godfrey and Giovanni, VELUM Studios is designed to redefine the creative journey for digital creators, bridging the gap between local creativity and global recognition.

“Our goal is simple,” Gilmore says, “to show creators you don’t need limitless resources to succeed. You need an idea, the courage to execute it, and the right support system. At VELUM Studios, we provide exactly that.”

Over the next year, the studio plans to sign and develop up to 100 emerging digital storytellers, drive hundreds of millions of views across digital platforms, and position its talent to access international grants and funding opportunities. To achieve these goals, VELUM Studios is building an in-house team of seasoned media professionals—including videographers, photographers, publicists, and marketing strategists—who will play a direct role in amplifying the work of selected creators.

In many ways, VELUM Studios is the first initiative of its kind on the continent—built to not only spotlight emerging talent but also structure their growth within the global digital economy.

For further details and information, visit the website.

Raybekah And Tha Boy Myles Are In Sync On BIRDS OF A FEATHER (B.O.A.F)

Posted on by Wale Oloworekende

Collaborations are at the heart of Nigerian pop. Some of the most storied records in the history of our music have sprung from artists acting on those collaborative impulses. In recent years, the very nature of those collaborations have evolved beyond just singles to lengthier projects that test the chemistry and bond between acts across a variety of settings. The most famous case would, perhaps, be the trio of tapes that Sarz has worked on with WurlD, Lojay, and Obongjayar respectively. In 2024, Ruger and Bnxn took things up a notch with ‘RnB,’ their surprise seven-track project. 

Rising singers, Raybekah And Tha Boy Myles, take something from that playbook on their new project, ‘BIRDS OF A FEATHER (B.O.A.F),’ dexterously colliding their worlds for a six-tracker that reverberates with the weight of reflections on the modern dynamics of love and relationships and the factors that aid romantic bliss. 

In the five years since Tha Boy Myles piqued interest with his emotive style and soul-inflected music, the singer has risen through the ranks to become a respected curator of the intricacies of  love, attraction, and betrayal. Tha Boy Myles’ rise has occurred tangentially to the come-up of singer, Raybekah, who is regarded as one of Afropop’s most talented rising acts. Born Rebecca Chinonso Arinola, she first piqued interest with her 2022 single, “EX BOYFRIEND,” before working her way up to a debut extended play, ‘Lazy Girl,’ in 2024. 

Like all great collaborations, ‘BIRDS OF A FEATHER’ works because it doesn’t just situate itself in one world. It moves long at its own pace between the universes of its primary creators with a leisurely pace that allows for the conversations its broaches to go down with a light-hearted summons to the dancefloor. ‘BIRDS OF A FEATHER’ kicks off with “Gatchu,” a mellow reflection on the depths of service that romance can inspire as both singers sweetly sing about the things they’ll do for a romantic partner. Sprawling over a bouncy mid-tempo instrumental, Tha Boy Myles and Raybekah swap verses that course with a thrilling intensity. It sets the pace for  “Nights Like This,” a swaying tribute to an escapist dream fuelled by attraction and love. 

The highlights on ‘BIRDS OF A FEATHER’ present themselves when the artists gently nudge themselves into their specific visions for the project. “Wet, Wild & Wicked” finds Raybekah at her most unrestrained as she delivers a stunning chorus about cutting free to enjoy herself while Tha Boy Myles sets the stage for a tungba-influenced extravaganza on the  enjoyable“Roki,” displaying an intuitive understanding of each other that allows them to find a place in each other’s world without misstep.    

 

Speaking about the project, Raybekah said that ‘BIRDS OF A FEATHER’ was dedicated to people who are experiencing love: “It’s for the lovers; everything about how the project was designed and the sequencing is to celebrate love in its essence.”

Also, Tha Boy Myles described it as a project that has been a long time coming. “We’ve always talked about linking up to do something and when we started we just couldn’t stop,” he explains. “We created these songs from a deep place in our hearts and we know that it’ll resonate with our fans.”

Listen to ‘BIRDS OF A FEATHER’ here. 

Studio monkey shoulder is funding ideas to bring music communities to life

Posted on by The Native

Following a successful first campaign, Studio Monkey Shoulder returns to Nigeria for the second year in a row. A brainchild of the Scottish Whisky brand Monkey Shoulder and online radio station Worldwide FM, Studio Monkey Shoulder is a grassroots music initiative created to fund trailblazers who are pushing sonic boundaries while also fostering real-world connections across different regions. Last year, Jazzhole received the Nigerian grant to digitally remaster rare archival recordings that preserve and celebrate Nigeria’s rich musical heritage. 

This year, the competition, in continued partnership with legendary DJ and Worldwide FM founder Gilles Peterson, once again invites the country’s most innovative and ambitious grassroots music communities – everything from from independent record stores to DIY music venues, online radio stations and collectives – to apply for a £10,000 grant (₦20 million) to bring their hugely imaginative music projects to life. 

“I am thrilled to see Studio Monkey Shoulder grow in its second year in partnership with Worldwide FM. It’s been a privilege to work with the communities we supported in 2024, seeing their projects thrive and come to life,” Peterson stated in a press release. “I am excited to uncover more amazing community-driven projects in Nigeria and witness the talent that comes with it as the project evolves in year two.” 

The winner of this year’s grant will join an international creative network that’s designed to elevate community voices and bring their stories to a global stage. Applications for Nigeria’s Studio Monkey Shoulder Fund open on April 28th and close on June 1st.

For full details and to apply, visit this website

 

View this post on Instagram

 

A post shared by The NATIVE (@thenativemag)

How Shallipopi Bent Culture To His Will

Posted on by John Eriomala

One of the most interesting ways that I’ve heard Shallipopi’s music described is that it does nothing for the mind and everything for the body. Recently, I had a conversation with a friend that altered this ethos: music can’t do anything for the body if it does nothing for the mind, the mind has to find those bars and melodies pleasing before backsides move. As “Ahead Ahead” plays in the background of my two-man apartment, one midnight in March, it’s fitting to explore this in more detail, to understand how Shallipopi, self-appointed Pluto Presido, has risen to such heights and what part his Benin roots play in his unrelenting rise to Pop supremacy. 

Shallipopi’s Rise to Fame

Shallipopi’s story begins in Benin. To be fair, all stories start in Benin if you believe in the Bini oral pedagogy that the 825-year-old kingdom is the source of the world. The phrase, “Oba ya, oto s ‘evbo ‘ebo,” alludes to the Oba owning all the lands from Benin to the rest of the world.  25-year-old Shallipopi—born Crown Uzama—started making music in 2016, after younger brother, Zerrydl, did in 2015, as mentioned in an October 2024 Echo Room interview. 

The rapper, who comes from a line of kingmakers—the Uzamas are one of the highest-ranking chiefs who anoint Obas–didn’t experience success until March 2023 with “Elon Musk” which catapulted him from South-South unknown to TikTok star, and then, breakaway mainstream success. He followed up with club banger, “Shapiru,” in April. An EFCC arrest in May for ‘alleged internet fraud’ somewhat stalled his momentum while increasing his infamy, setting the stage for a remix of “Elon Musk” in June and–in typical Hip-hop chronicle fashion—“Ex-Convict” the following month.

Since June 2023, Shallipopi has performed at the O2 Arena and Stade de France, sold out two concerts in London in 2024 on his Plutomania tour, sold out a homecoming concert at the Victor Uwaifo Creative Hub in Benin City. Both of his LPs, ‘Presido La Pluto’ (2023) and ‘Shakespopi,’  (2024) debuted at No. 1 on the TurnTable Charts. The latter was the first project since Davido’s ‘Timeless’ to produce a first-week No.1 record, “ASAP.” His song with fellow 2023 breakout star, Odumodublvck, “CAST,” has over 55 million Spotify streams and earned him four nominations  and a win at the 2025 Headies Awards. With co-signs from the big four, a new deal with Sony Music UK after a messy split from Dvpper Digital, and immense street cred, Shallipopi operates at the upper echelons of the industry. 

The Benin Influence

The Bini—and Edo people as a whole—are music-loving. From Africa’s first gold plaque awardee, Sir Victor Uwaifo, to Alhaji Waziri Oshomah, Majek Fashek and his mystical rain-making rhythms, and an adolescent Benita Okojie at the turn of the century, contemporary Edo musicians have always found their way to national prominence, their influence being a continuation of a long-held tradition. Ethnic groups in Edo State like the Esan and Owan have a strong hold on oral music forms till today. But only a few of these groups can lay claim to sons and daughters who infuse their traditional, ceremonial music like Crown Uzama does, wielding it as all he is, all he will unapologetically be. 

In December 2023, he told More Branches about how a tough childhood shaped his music. “My background was a rough one so my sound is different, and it shows in the music,” he said. “Only those who grew up in Benin City under harsh conditions will understand my sound.” And that cultural distance also shaped some of the early reception to his other releases. For example, unless you lived in Benin, or a sister city like Warri, you’re not likely to know what the term ‘Oscroh’ or ‘OS’ means. Any insight would be the product of someone in the know—like a classmate of mine, who spilled how secondary school boys in his home Benin City ‘order OS’ (patronise sex workers) after ‘cashing out’ (getting proceeds from Internet fraud or cryptocurrency deals.) This, perhaps, explains the initial poor reception to October 2023’s “Oscroh (Pepperline).” The use of Benin-specific lingo didn’t translate as smoothly as ‘Inside that your Evian,’ from “Elon Musk” seven months earlier. 

Turn to 2025 and Shallipopi has one of the biggest songs in the country (“Laho.”) The chorus  is sung entirely in Bini: “Ghẹ gunmwẹn dẹ ọ, lahọ/Ni paste aza, lahọ/ Don’t let me fail, please/Can I send my account number, please?” The catchy song employs traditional call-and-response rooted in Benin culture and yet it is loved far beyond our shores. Shallipopi’s dexterous use of Bini language has shown up throughout his time as a mainstream star. Many Shallipopi fans know the “Obapluto” sample, they even know about the legal dispute that ensued post-release. But elsewhere in Shallipopi’s discography, another sample leads back to Igodomigodo—the ancestral name for Edo. The intro on his second LP, ‘Shakespopi,’  “ASAP”  samples Alhaji Waziri Oshomah’s 1979 single, “Ikwekiame Nedumhe.” Similarly, “Iyo,” the eighth track on his first LP, ‘Presido la Pluto,’ samples the 1978 Drivers Union Dance Band Uselu Motor Park and Osaro Nomayo single, “Ovbiyemwen,” and much like the sample on “Obapluto,” it constitutes the spine of the record. 

When there’s no sample, there are shoutouts, like on “More Than Me” where he hearkens home with “Straight out of Benin for sure” and the fittingly titled “BENIN BOYS”—“Remy, Ekehuan Road/ Shalli, Sapele”—where he props up his neighbourhood on the Benin-Sapele-Warri Road, and Rema’s on Ekehuan Road in Benin. There’s evidence that Shallipopi’s music is of the people in a way that lots of Nigerian Pop is not. In clips from Mai Atafo’s Spring/Summer ‘24 Show, “Obapluto” blares right after Pa Monday Edo’s “Nogbaisi,” as models in reimagined versions of traditional Bini outfits strut the runway. 

Understanding Afro-Pluto

But what is Afro-Pluto? As he referred to his sound in an October 2023 Factory78 interview: “Not straight-up hip-hop, not straight-up Afrobeats, not straight-up Afro-pop,” he explained.  “Even my music is not more of singing, it’s more of talking. So there’s no one that does that except me.” In a time where every artist and their A&R wants to craft their own unique ‘sound,’ that statement isn’t so outlandish.  His Benin contemporary, Rema, named his subgenre ‘Afro-Rave,’ and only fully leaned into it on October 2023’s ‘RAVAGE’ EP. 

Shallipopi’s music is a fusion of Hip-Hop, Street-Pop, and Afropop. However, Afro-Pluto’s core is Hip-Hop. Shallipopi’s songs—especially on his first two projects—follow a simple pre-chorus-verse-chorus pattern with minimal internal rhymes, di-syllabic schemes, and rhythmic motifs. What he lacks in a vast vocabulary, he makes up for with same-word end rhymes and haphazard lyrics. For example, on “Speedometer” off ‘Planet Pluto,’ he raps, “Who fall go rise up again, on a speedometer/You wan know how men take dey mount/Men are men on meter/It was nice to meet ya.” It’s a simple A-B end rhyme with ‘meter’ repeated multiple times until the homophone lands on ‘meet ya.’ 

On “Evil Receive”—his most cherished musical creation per a February 2024 Floor Mag profile—he rhymes ‘vibe’ with ‘vibe.’ The unpredictability of his lines often falls outside conventional street wisdom. “Network no dey no mean say wi-fi disconnect” on “ASAP” is discernible—things aren’t always as they seem. But “men are men on meter” doesn’t quite translate. There’s also shock value: Legacy South-South rap acts like Erigga and Yung6ix are known to incorporate vulgarity, and Shallipopi follows in their footsteps. It’s a trait that has drawn him as many fans as foes with a hit like “CAST” and its lyrics placing that divisiveness in context. 

Per his lyricism, Shallipopi embodies Street-Pop. Money, sex, fraud, family struggles, resilience, and social injustices like police brutality are subjects that he constantly returns to. He’s a man of the people: the fun-loving, night-crawling people. Shallipopi is unlike Balloranking or Seyi Vibez, Street-Pop acts who balance party staples with spotlighting the ordeals in inner-city streets, and even his brother, ZerryDL, whose storytelling prowess rivals most. In the aforementioned Floor Mag profile, he drives the point home: “Social change and my music, I don’t think they’re close to each other,” he admits. “My music is for fun and to get your mind off troubles.” It takes seeing the Pluto Dance on dimly lit dance floors to process this fully. For all its ties to home, Afro-Pluto evades the dual merriment-enlightenment function that traditional Edo music upholds. 

Afro-pluto embodies Afropop through praise-singing, verbiage, and drawing from pre-existing music. Shallipopi praise-sings on “Ex Convict” like Wizkid did on 2014’s “In My Bed” and Olamide did on 2019’s “Oil & Gas.” In the two years since he burst onto the scene, he’s arguably become the biggest influencer of pop culture lexicon. ‘Men mount’ is an everyday slang to signify movement. ‘Evian’ made it into Zikoko’s Official Afrobeats Glossary. Everyone has been ‘Active’ since “Elon Musk.”  Similarly, ‘OS’ has crossed the threshold that proves its thorough pervasion; misuse, or rather, abuse.

Shallipopi’s producers—especially BusyPluto, who produced all but one track on his first two projects—draw regularly from older Nigerian music. BusyPluto’s zest for older Nigerian music is evident on a song like “Eazy” which interpolates 1996’s “Diana” by Galala legend, Daddy Showkey, a musician of South-South origin. Despite interspersing elements of Afropop and Street-pop, Shallipopi’s music is Hip-hop. When he speaks about fucking his enemies with no condoms on “Never Ever,” he’s echoing Ice Cube on “No Vaseline.” His verses on ostentatious living and the nature of fame are a mainstay of the genre. There’s insufficient innovation to term ‘Afro-Pluto’ a genre. There is no novelty in production—and influential as it is, per increasing adoption, it fails to be sufficiently distinct. 

The Plutomania Effect

Speaking of influence, Shallipopi’s musical impact has been felt the most at home. His younger brothers, 2025 Headies Rookie of the Year winner, Zerrydl, and new kid on the block, Famous Pluto, are ambassadors of Shalli’s homegrown rap brand. Zerry (Divine Uzama) is the most technically gifted of the three, a storytelling maestro with a flair for uncanny pockets. His one million plus Spotify listeners tell of his growing reach. The youngest, Famous Pluto (Osahon Uzama) debuted with “Na Scra” on March 7th this year, bearing similar flows and street wit as his brothers (“One round plus one round equals two bone straight.”) Their cadences are identical. Both younger brothers rap over BusyPluto’s instrumentals and are signed to Shallipopi’s Plutomania Records. Their subject matter is the same: women and the pursuit of financial freedom. 

Still, the impact of Shallipopi’s sound has not only been felt at home. Due to his outsized influence and success, there are a number of acts whose works fall directly in the lineage of his syrupy, drawn-out sound; acts like Tega Boi DC and Reeha, both Plutomania Records signees and crusaders of the Benin sound. There’s Smur Lee, one of only four Nigerian female artistes with over 15 million streams on a song in 2024. The track, “JUJU,” features Odumodublvck and Shallipopi and has over 37 million Spotify streams. Her style is almost a mirror image of Shallipopi’s, with multiple Elon Musk references and fraud lingo littering her latest singles. 

Beyond direct musical influence, Shallipopi’s artistry has impacted his peers who seek his raps over deep cuts (Victony’s “Ludo”), Afropop bangers with far-reaching cultural implications (Rema’s “BENIN BOYS”), and cross-border, market-focused singles (King Promise’s “Continental”). The virality of “LAHO” on the global stage – which has thousands singing along at destination nightclubs, NBA and European football superstars making TikToks, and top-5 placements on global charts like the UK’s Official Afrobeats Charts – forecasts newer zeniths for the 25-year-old phenom. It’s as welcome an outcome as any, just two years into his career in an industry peppered with stories of fadeouts after similar label splits. It also means going forward, Shallipopi is unlikely to veer off his sonic template. But his is a winning formula, so there are no worries. When he enthusiastically says, “Worldwide Plutomanians,” it truly is a worldwide phenomenon.

Skyla Tylaa Is Taking Off 

Posted on by Wale Oloworekende

As a child growing up in South-east London, Skyla Tylaa had a natural affinity for the arts. Whether it was music or stage performances, she found herself exploring these interests intently from a young age. That devotion manifested in multiple ways – her attending the BRIT School and Sylvia Young Theatre School where she performed in a West End production of Annie or her fiddling with several musical instruments while she figured out her creative identity. Through it all, music was a constant, the backdrop to her home life where she grew up between Jamaican and English influences. She remembers being exposed to Drum & Bass, Funky House, and Garage. “I think that’s had a big influence in my DJ career,” Skyla Tylaa admits. 

Progressing into adulthood, those musical influences persisted even if she didn’t always engage with them professionally. Things changed when she started DJ-ing during the COVID-19 pandemic. Possessed by a visceral desire to experience the euphoria of interacting with people through music, she burrowed deeper into DJ-ing. “I couldn’t be in my room and just have people commenting,” she recalls. “I need to see people’s energy, and feel everything in the moment.”

Since then, she’s enjoyed a meteoric rise that has taken the world by storm. Mentored by DJ Tunez, she performed multiple times on the American leg of Wizkid’s ‘Made In Lagos’ tour and came out of the experience raring to go. “Opening for Wizkid on his tour was a transformative experience,” she says. “It taught me a lot about resilience and adaptability in my craft. I was still pretty much a start-up DJ when I went on tour and it made me really realise how important it is to connect with the audience. Touring from city to city with different crowds, it helped me to learn how to read the room and keep the vibe going.”

Almost as importantly for Skyla Tylaa, Rihanna was present at one of those tour stops and was impressed by her set, stopping by after the show to congratulate her. “After that I felt like I could conquer the world,” she says. Since then, she’s been selected by Rihanna to DJ at a Fenty X Puma Creeper launch event in London in 2024, marking a full-circle moment between the women. 

Like Rihanna, Skyla Tylaa is inspired by music from the breadth of the Black diaspora, playing sets that take as much influence from the fervid restlessness of Hip-hop as they do the wavy melodies of House music, and the dancefloor summons of Afrobeats “I love partying! I genuinely love it,” she explains. “When preparing my sets, I’m always thinking of people having a good time. Whatever I can do to connect with them, I’m down to do it!” 

In the last few years, few genres have shown the propensity for inspiring a great time with the regularity that Amapiano does. From Johannesburg to Windhoek, to Lagos, London, and New York,  the log drums and mutating basslines of the  genre have proven integral to a new Pop framework that is as amorphous as it is exhilarating. Since first hearing the genre while on a visit to Ghana years ago, Skyla Tylaa has been hooked. “It was the log drum, the sound, just the vibes that came with it,” she says. “I was like ‘wait – what is this?’ When you hear Amapiano, it’s one of those sounds that no matter what, you’re gonna dance.”

Diving into the genre, she’s picked up valuable lessons from important figures like Maphorisa, Uncle Vinny and Major League DJz while putting her youthful spin on the sound. It’s all coming together for the DJ who’s working with her sister, music heavyweight Jada Pollock, to figure it all out one step at a time. “When I found my passion for DJing, Jada was right there, urging me to dive into the ‘Made in Lagos’ tour,” she says. “I wasn’t sure I was ready, but she believed in me and knew I could handle it. My love for music has been with me since school; it just took some time for me to realize that this was the direction I wanted to pursue. Once I found my calling, her support became endless–she attended my early gigs and pushed me to perform at major festivals like Afro Nation.”

She’s since performed at leading festivals such as Wireless, Piano People and Australia’s Promiseland as well as selling out headline shows across London, London,  and Ghana. For the next phase of her career, she’s actively working on creating music. This month, she released her debut single, “Bombshell,” a searing Amapiano banger that has all the hallmarks of a potential summer hit. “Bombshell” features Tanzanian Bongo Flava act, Diamond Platnumz, as well as South African acts, Tyler ICU, Khalil Harrison, and DJ Exit. It’s a blockbuster showing that sits well in the tradition of the genre. “The idea was initially played to me by Tyler ICU in March 2024,” Skyla Tylaa says. “He and I had a session while he was in London, and this was one of the ideas we worked on. Khalil was already on it, at the time, and I loved what I heard!”

After seeding it into her live sets last summer and starting live teasers with a dance challenge, Diamond Platnumz reached out about potentially working on the song and it was arranged. “I started teasing the new version of the song in my sets and then a whole new viral dance challenge came about online in December,” she says. “From that point, I knew the track had all the elements (features included) to be a big release in 2025 !” For DJ Exit, a chance to be part of a transformative song like “Bombshell” was an opportunity he didn’t want to pass up. “What drew me to this single was the chance to be part of something boundary-breaking,” he explains. “Gqom and Amapiano are both powerful in their own right, but fusing the raw, percussive energy of Gqom with the soulful, hypnotic swing of Amapiano creates a sound the world hasn’t fully experienced yet. This isn’t just another collaboration–it’s a cultural statement.”

The Xhosa word, ‘basazomangala,’ meaning ‘to be shocked,’ is uttered several times on “Bombshell,” and it reflects the message that Harrison was trying to pass on the track.  ““Bombshell” is really about letting people know that there’s still so much more to come from me,” he says. “It’s a celebration of the present moment, but also a reminder that this is just the beginning. We’re all dancing to what’s happening now, but there’s an energy in the air that says the best is yet to come.”

In light of Amapiano’s rise to global prominence and the international acclaim it enjoys, Harrison is right about more things being on the horizon, and Skyla Tylaa agrees with him: “When I was introduced to Amapiano, I fell in love instantly and that time it was just on the verge of global appeal. It’s global now and still growing and that makes me appreciate it even more! I love it, and the world loves it! The feeling is mutual ! We can all enjoy it together!”

For Tyler ICU, having DJs from the diaspora like Skyla Tylaa engage with Amapiano and its culture is a win for the genre. “This shows the power of the genre–it’s not just a sound, it’s a movement,” he says. “When someone like Skyla, who appreciates the culture and brings her own flavour, plays Amapiano in places like London, New York or Toronto, she’s not just playing music, she’s building bridges. That’s how we grow–by letting the world feel it in their own way, but staying true to where it started. It’s important that the roots are respected, but the branches can reach far.”

Just a couple of weeks since its release, “Bombshell” has crossed over 650,000 thousand views on YouTube and continues to be a sensation on TikTok. Like everything Skyla Tylaa has done up till now in her career, it’s shaping up perfectly and has shown that she has a knack for the right collaborations. She intends to keep making music. “This year, my focus is all about music,” she says. “I recently signed with Robots and Humans (Sony) in the UK and Epic in the US, which has given me a different level of drive to really want to create good music. I’m also looking forward to exploring the Afro-house genre and collaborating with other talented artists.”

What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria

Posted on by Boluwatife Adeyemi

There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’ 

Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base. 

The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show. 

OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around. 

At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward. 

At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.

Ryan Coogler’s Vision For SINNERS

Posted on by Wale Oloworekende

There is an alternate version of African-American history stitched together by music. From the harmonic melodies that followed them off slavers ships to the home-harkening cottonfield tunes that provided succor during the horrors of slavery, African-Americans have always used music to remember and call one another to action. The stakes are seemingly as important in Ryan Coogler’s new movie, SINNERS, where the music of Sammie (played by newcomer Miles Caton), a prodigious blues singer, turns a night of revelry on its head as a horde of vampires attack a juke joint set up by the identical Moore brothers (played by Michael B. Jordan).

Set in the Mississippi Delta in the 1920s, SINNERS is faithful to its timeline in tone and tenor but confronts issues like racism, colourism, and Black ownership that continue to have modern resonance while deftly sidestepping stringent categorisation. It is Ryan Coogler’s first original conception and it bears the defining personal insights and quirks that have made franchises like Black Panther and Creed hugely successful, while sealing Coogler’s reputation as one of the most respected filmmakers of his eras. 

Ahead of the release of SINNERS, we had a brief chat with Ryan Coogler about his latest film. 

Where did the inspiration for ‘SINNERS’ come from?

It came from my relationship with my uncle. He came from Mississippi and he loved Blues music. I would listen to the music with him and that happened for most of my life. He passed away 10 years ago and, since he passed away, I got more interested in the music and that’s where the seed of the idea came from. 

Do you think the movie was made to honour your uncle’s memory?

Yes, for sure. 

‘SINNERS’ is set in the 1920s American South. Why did you settle on that time period? 

I settled on that time period through studying what year would make the most sense for Blues history. What I think this time period represents for African-Americans is that it was the Great Depression and, while studying, I found out that it didn’t affect Black people as much as it affected white people because there was nowhere for Black people to go socio-economically, they were already as down as they could be. Interestingly, it was a time when white people and Black people were in contact with each other due to what happened with the economy. 

You collaborated with Michael B. Jordan again, what made him the right fit for the role?

I think Mike has a unique combination of range and charisma. Charisma is something that can’t be learnt, you have to be born with it and, a lot of the characters in this movie, are extensions of their charisma. You have to believe that these guys can come back into town after seven years and throw a party and get people to show up. For me, that was the biggest part of it. I wanted an actor that was flexible and charismatic in two different kinds of ways. Smoke has his own charisma but he’s an introvert whereas Stack’s charisma has to be more of a projection, and that’s very difficult because you have to be born with that charisma. Also, you have to know how to manipulate through acting techniques, and Mike is uniquely capable of that.

NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”

Posted on by Wale Oloworekende

Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.  

Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter. 

On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest. 

Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song. 

From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it. 

Her answers, which follow below, have been lightly edited for clarity.

How would you describe where you are in your career right now? 

I’m just enjoying the journey. 

What does the release of “Fast Fwd” signify for you? 

It signifies  love. 

Why is Kida Kudz a fit for the song? (

To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship. 

You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work? 

Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel.  I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you.  A lot of producers don’t really understand the importance of knowing the artist musically but he does. 

What were you aiming for with the video? 

To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.

Catch an exclusive view of “Fast Fwd” below.

Fanti Carnival Returns to Lagos This Easter with a Vibrant Celebration of Afro-Brazilian Culture

Posted on by The Native

The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the streets of Lagos Island alive with colour, music, and culture. With roots dating back to 1890, the Lagos Fanti Carnival is one of Nigeria’s oldest and most vibrant cultural traditions, celebrating the deep ties between Nigeria and Brazil through a dynamic fusion of Afro-Brazilian heritage and modern creativity.

This year’s edition is supported by the Lagos State Ministry of Tourism, Arts, and Culture, in partnership with Robert Taylor Media and the Brazilian Descendants Association of Lagos. Together, they aim to honour the legacy of the Afro-Brazilian community in Lagos — descendants of formerly enslaved returnees who shaped the city’s culture, religion, and architecture.

The carnival procession will kick off at 12:00 PM, starting from Old Defence Road and will end at the JK Randle Centre, with accreditation beginning at 10:00 AM. Attendees can expect a stunning showcase of traditional costumes, Afro-Brazilian drumming, dance, and performances from local creatives reinterpreting heritage for a new generation.

Whether you’re drawn to the dazzling pageantry, the live performances, or the chance to connect with a rich cultural history, the Fanti Carnival is an unmissable event this Easter. 

Tickets are now available, and more information can be found via the official Fanti Carnival website or their social platforms.

Review: Davido’s ‘5ive’

Davido understands the mechanics of moments more, perhaps, than anyone else in Afropop. Blowing up in an era of Nigerian Pop that prioritized singles over full-length projects, the singer’s earliest years were spent orchestrating grand hit after hit that lasered their imprints on popular culture and effectively sealed his reputation as one of the most important Afropop acts of all time. Years later, when Afropop started to expand beyond the continent’s borders, attract international audiences,  and tilt towards a global audience that required more than the bite-sized slice of cultural ingress that singles provided, the singer recalibrated his approach and shifted to the full-length efforts that were becoming ubiquitous. 

Since the 2019 release of  his balmy sophomore album, ‘A Good Time,’ the singer has been one of the most prolific mainstream Afropop acts, releasing four albums in six years, a stark contrast to the solitary album and extended play released in the first eight years of his career.  Those albums have also not been scrappy throwaways: there are few albums as representative of the stunning rise to global popularity that Afropop enjoyed circa 2019 as ‘A Good Time’ and 2020’s ‘A Better Time’ were. And both records stood out as beacons of normalcy during the unprecedented disruption of the COVID-19 pandemic. Even 2023’s ‘Timeless,’ a thrilling finale to his series of time-indented albums,  was a swaggering return to the scene after a deeply hurtful personal loss that provided resonant tunes like “UNAVAILABLE” and “KANTE.”

On ‘5IVE,’ his latest album, there’s nothing new to learn about the Afropop giant and the forces that animate his best work. Make no mistake, Davido is still an Afropop juggernaut capable of constructing moments of downright elation, but there’s a palpable sense of listlessness that creeps into this project, and that hasn’t found its way  anywhere near Davido’s work since his bloated and uneven debut, ‘Omo Baba Olowe: The Genesis.’ And maybe that’s the problem, Davido has never promised to reshape the DNA of the genre with his releases. What he has always done effectively is to synthesise the liveliest aspects of the soundscape to meet the moment on his own terms. On several occasions on  ‘5IVE,’ he sounds frozen in time, seemingly disinterested in working his way out of the rot that Afropop’s mainstream finds itself in. 

It shouldn’t have been this way: the pre-released trifecta of “Be There Still,” “Awuke,” and “Funds” are bouncy polychromatic slappers that seemed to promise another big Davido moment on the horizon as he talked us through his favorite fashion brands, wisecracks, and gestures for his loved ones. In fact, the words on album opener, “Five By Alhanislam,” cast Davido as a phoenix rising and a free man about to seize the moment. Instead, what we get is a singer who’s still clinging to the ghost of topics that have served him well in the past without breaking new ground in his exploration of these themes. Take “10 Kilo” for example, where the singer is obsessing over a lover and unabashedly expressing his desire for her — it simply doesn’t have the theatrical eloquence of previous iterations like “Assurance” and “Jowo” nor does it have the unshakeable zest of tracks like “Fall” and “IN THE GARDEN.”

In the last two years, Davido has been at work to clean up his act, belatedly settling into his marriage after turbulence brought on by his infidelity, spending more time with his children, and straddling the divide between boardroom and stage with a practised efficiency. He’s acknowledging the clarity this new lease on life gives him on “Anything.” Louddaaa’s muted percussion serve as the base for his musing on where his life is, what he’s getting up to, and the distractions he’s turning away from. “Different girls on my phone but I steady lock up,” he sings on a stretch that points out just how long he’s been at the top of Afropop. Davido’s reflections do provide one of the album’s high points on “Nuttin Dey,” an uplifting number about accepting life’s ebbs and flow that leans on an early 2000s Nigerian Pop flow while looping in the call and response of Afrobeat with a sprinkle of Amapiano’s signature log drums. A similar impulse about owning the narrative of one’s life produces the Chris Brow-featuring “Titanium” but intent doesn’t always translate to execution; instead what we are left with is a rote, unimaginative song whose chorus seems to try to echo the sentiments of the Sia and David Guetta original. 

Still, collaborations are an important part of the Davido experience and some of the best songs on ‘5IVE’ benefit from the imagination of his guest choices. Victoria Monét demonstrates her impeccable writing skills on “Offa Me,” a delicate R&B ballad that blends Monét’s silky vocals and Davido’s throbbing emotiveness. South African vocalist, Musa Keys, steals the show on “Holy Water” with a symphonic whispered chorus that perfectly tees up Davido and Victony for memorable verses on a song that pays homage to private school amapiano. Shenseea and 450 provide a different dimension to Davido’s saccharinnic crooning on “R&B” while the aforementioned “Funds” benefits immensely from Chike and Odumodublvck’s dynamism. 

The writing and sequencing slump that pervades ‘5IVE’ does not entirely erode Davido’s incredible instinct for curation. In fact, there are indelible reminders of Davido’s ear for melodies and instrumentals that just work. “CFMF,” written by Victony, sounds like an incredible record that just didn’t make the cut for his ‘Stubborn’ album; in Davido’s hands, it’s whimsical and airy as is the pseudo-reflective “Don’t Know.” Both are rarities on an album of incredible highs and jarring lows. The truth of the matter is that while Afropop has gone on to become a global sensation, there is a gaping hole at the heart of the genre that cannot be ignored anymore. That sense of amissness is magnified across the length of ‘5IVE’: the ideas are undercooked or incoherent and, too often,  stumble to a finish line that elicits a sigh of relief rather than the transcendental elation that the best Davido songs used to hold a promise of. 

Vlisco’s “The Garden Of Sisterhood” Campaign Comes To Life in New “MAYANGA” Video

Posted on by The Native

Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.

In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion. 

In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said. 

Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.

 

 

View this post on Instagram

 

A post shared by The NATIVE (@thenativemag)

The Freewheeling Vision of TG Omori

Posted on by Chibuzo Emmanuel

There are two types of producers in the industry: those who approach the art with a keen sense of business—they know how to sniff out opportunities, and are generally aware of industry-wide trends and currents—and those who set the tone, who set the standards. The latter group is the animating force of the industry, TG Omori says in a 2022 interview with Korty EO. During the interview, he’s slouched in his seat, framed against the backdrop of a grand piano, wearing a bandana, dark shades, and a silk Hawaiian shirt—the first few buttons undone to reveal a glistening silver chain. In the intervening moments—fractions of a second—before Korty responds to the loaded assertion he just trotted out, the air is thick with balmy anticipation and nervous excitement “Which group do you belong to?” She asks, lancing the tense air that had inflated sharply like a balloon. “Me? Which group do you think I belong to?” He fires back, his mouth drawn into a smile. 

Music video production, is at its heart, an art form that is significantly beholden to the vision and whims of the music artist and label executives. Music video directors—rightly—have to walk the tightrope between sufficiently distilling the essence of a song into a video and managing the desires and whims of an artist and their representatives. The problem, however, is that in between all of this, there’s often little wiggle room for the director to execute his ideas significantly. The result is often a situation where the music video director becomes diminished from an artist to a little more than an artisan. TG Omori, however, has in his long career railed against this. There’s no doubt that like his peers he has to straddle the demands of the song and the vision of his clients, but he does this without effacing his distinctive creative language. He has a fluency in packing his work with heady joy, a joy that pervades and steadies Nigerian society despite the many challenges it’s faced with.

TG Omori stumbled into music video direction by chance. He had been struggling as an actor, begging directors for roles as an extra—his skits and sketches from this period are still available on the internet—when it dawned on him that achieving success as a performing act was incredibly difficult. He noticed that a lot of upcoming actors were struggling to get by and often had to abase themselves in the process of currying favors with directors. The role of film director slowly started to worm its way into his heart, driving a wedge between him and his acting aspirations. Finally won over, he made the pivot to filmmaking, eventually settling on music video direction on account of its relative ease. 

His early works lack his distinctive style, instead taking inspiration from directors before him. Consider YCee’s “My Side” which he directed in 2018. The video opens with YCee perched atop a high-rise building. The colors are muted, contrasting his current works which generously deploy bright hues and saturated lighting. There’s a gorgeous scene where YCee is framed against a wall with slits. Shafts of light stream in from behind him, creating a transcendent portrayal of an animated silhouette enveloped in light. The entire video evokes the elevated minimalism of Moe Musa. Think of the opening scene where YCee saunters atop a high-rise building, it’s a motif that has been deployed countless times by Nigerian directors, but something about that scene—the minimalism of the setting juxtaposed with dynamic camera movements—brings to mind Moe Musa’s video for Olamide’s “Bobo.”

While his early works lack his signature–the distinctive exuberance we’ve come to know him for–they hold kernels of what would come to be. Even in the muted ambiance of “My Side,” we see an early iteration of the pristinely dynamic camera movements that sweep through his oeuvre. In the video of Olamide, Wizkid & ID Cabasa’s “Totori,” released in 2019, his directional language starts to take form. He was contracted at the last minute to film the video—he had less than a day to come up with a concept, marshal his crew and steward the logistical aspect of the shoot, and yet in this pressure cannon, a gem was formed. 

The video contains just one main scene—one of the few vestiges of the shoot’s hurried nature. We see Wizkid and Olamide encircled by an energetic crowd. A circle of dark bodies sways to the beat, handkerchiefs flailing in the air. We also see the flamboyant lighting that has come to define TG Omori’s work. There are light sources outside the frame but the scene itself is illuminated by a clever array of light sources. Moving headlights cut through clouds of smoke, LED lights and tungsten bulbs of varying colors suffuse the atmosphere with warm iridescence. The effect is the feeling of being transported to a rave. What’s perhaps most striking about this video is that, having been hastily formulated, it contains a single scene, and yet not one minute of it feels boring or repetitive. 

Having worked across virtually every area in Nigeria’s sprawling music scene T.G Omori’s lore has taken on an almost mythic quality over the years. However, nowhere is his impact more pronounced than in the Nigerian Street-Pop scene. Today, Street-Pop has largely ridden itself  of its underground status. Artists like Seyi Vibez, Shallipopi, and Asake imperiously lord over charts in the country, each boldly raising the banner of their respective cities and hoods. But this wasn’t always the case. In Afropop’s early days, Street-Pop was relegated to the margins, sneered at by industry gatekeepers for its brash flourishes, even though the mainstream routinely tapped it for inspiration. By the early 2010s a new generation of Street-Pop acts—Olamide, Phyno, and Reminisce amongst others—would elevate Street-Pop’s profile to historic heights. But it still maintained an insidiously tense relationship with the mainstream. 

The first signs of an industry-wide shift–the shift that has blossomed into Street-Pop’s hegemony today–arrived in 2019 at the height of the Zanku movement. The addition of “movement” underscores just how significant Zanku was. On one front, it’s the title of Zlatan’s titular 2018 hit and an acronym for the phrase “Zlatan Abeg No Kill Us.” But it’s also used to denote a distinct flavor of Street-Pop characterized by skittering drums, cascading percussion, and a laissez-faire style of delivery—heralded in late 2018 by Street-Pop folk heroes like Zlatan, Chinko Ekun, and Naira Marley. 

When culture critics reminisce on the Zanku era, the focus is usually on the artists who spearheaded it, but T.G Omori’s contributions to that period of Street-Pop’s ascendancy are impossible to ignore. While the artists shaped the sounds and dance steps that defined its grassroots appeal, it was T.G Omori who gave it its distinctive aesthetic. His early collaborations with Zlatan—most notably on “Shotan” and “Bolanle” offered a template for how the videos of the era could be presented on screen: hyper-stylized yet rooted in the whimsical chaos of street culture. His use of slow motion, jump cuts, and dynamic tracking shots turned what would otherwise be yet another ephemeral trend in Afropop’s dynamic history into a cinematic experience that embodied the feeling of the era. 

His video of Naira Marley’s “Soapy” is especially telling.  Arriving in the wake of Naira Marley’s arrest by Nigeria’s anti-graft agency, the Economic and Financial Crimes Commision (E.F.C.C.), the video very cleverly satirizes the experience, framing him, as well as others who were arrested alongside him—Zlatan and Rahman Jago, amongst others—as  heroes as opposed to criminals. It’s important to grasp the significance of this. Street-Pop acts had always been treated with suspicion. There almost seemed to be a tacit consensus that regardless of their success or status, they mirrored an unsavory part of society, and so they deserved the asterisk that seemed to loom over their every move. The arrest of Naira Marley and his posse only served to further strengthen this narrative. TG Omori’s video, however, spun an alternative narrative, a hagiography perhaps, from this fraught situation. The video opens with annotated mugshots of the group, their names tacked onto each mugshot. Through TG Omori’s lens, prison becomes transformed from a place of despondency to a sanctuary where friends happily muck around, regaling themselves with games and bubbly dancing. 

TG Omori’s influence in shaping emerging sonic movements extends beyond the Zanku era. It’s impossible to recount Asake’s rise without considering the video director’s input. 2022 marked Asake’s singular and meteoric rise to fame. His music blurred the boundaries of genres, creating an amorphous sound spread across the continent with intensity. His ascendancy also broke the boundaries between Street-Pop and mainstream Afropop, marking the dawn of a new era. TG Omori played a pivotal part in Asake’s early days, crafting a freewheeling visual aesthetic to match Asake’s disposition for subversion. In the video of Asake’s “Peace Be Unto You,” we see his freewheeling ethos at its peak. The song’s themes span faith, hustle, success, and street credibility. In the hands of a lesser director, the video would have followed the familiar script of a grass-to-grace narrative. TG Omori, however, rejected that cliché in favor of a more abstract approach. 

Each of the themes explored in the song is distilled to a representative scene, the scenes are then cleverly stitched into a brilliant whole. The opening sequence sees Asake on a motorcycle, a formation of riders trailing behind him. As he rips through the freeway, doting fans wave and scream in adulation. Watching this scene, one is tangibly enveloped in the feeling of street credibility, the sense of ascendancy, that Asake explores in the song. It’s poignant and symbolic, conveying the essence of the song in a manner that would be difficult to achieve with a literal narrative. Similarly, the video of Seyi Vibez’s “Shaolin,” TG Omori’s inaugural work following a health-induced break, defies any discernible narrative logic in favor of a freewheeling approach. The video’s boisterous energy almost seems like a bold assertion of his continued reign; as if to say “I’m back like I never left.” 

In August of 2024, through a series of heart-wrenching videos, as well as tweets, TG Omori let the public in on his health challenges. In a tweet, he revealed that his only brother gave him a kidney, so he could live again. He revealed that the transplant failed and, later, brought on thoughts of mortality. In one harrowing photo he posted on his Instagram stories, he’s hooked to a life support machine, the words “I don’t want to die” superimposed on the image. In the intervening moments, prayers and well-wishes poured in from all corners of social media. In recent months, however, he appears to be in better health and has fully thrust himself back into work, with “Shaolin” being the first of many projects he has lined up. 

Eight years after his directorial debut, he remains not just relevant, but the frontman in an industry that’s as cut-throat as it gets. It’s uncommon in Nigeria’s music scene—for a video director to maintain this level of dominance for nearly a decade into the game. It’s his fidelity to subversion and his unique perspective on the art of videography that has earned him his position as Nigeria’s foremost video director. To watch a TG Omori video is to be transported into a world of his creation: where the sun pulses with exuberance, foliage throbs with palpable life, streams of light vibrate with saturated colors, and the streets are perpetually packed with graceful black bodies. It is a world where, regardless of the tyranny of fate, joy manages to always streak through. 

Maya Amolo Is Committed To Giving You The Sweetest Time

Posted on by Boluwatife Adeyemi

“Sweetest Time,” Maya Amolo’s latest single, is a soothing, lovesick confessional that mixes intimate, heartfelt lyricism with wistful production courtesy of Ugandan musician and producer SOULCHYD aka MAUIMØON. Alongside fellow Kenyan singer Ywaya Tajiri, the self-acclaimed sweetest girl delivers a lustrous duet that sees her soft vocals, which perfectly complement Tajiri’s more robust voice, skip and flit across moody synths, intensifying the spotlight on her wholehearted delivery. “I can feel you rushing through my system / Every single day it’s my religion,” she sings passionately halfway into the record. The whole thing sounds like the aural equivalent of a warm blanket; a truly affectionate record that immerses and envelopes its listeners in its warmth. This is the brand of vulnerable, understated R&B music that has been helping Amolo gain significant attention since she debuted in the pandemic year. 

Born and raised in Nairobi, Kenya, Amolo always had an affinity for music. The singer and producer, who took on piano and guitar lessons as a child, has previously credited acts like Brandy, Erykah Badu, Prince, and Kenyan musical icon Eric Wainaina as her early influences – and it’s easy to see how Amolo’s style draws from this strong lineage of musicians whose music is equally expansive, soothing and vulnerable. After years experimenting with different styles, recording covers to beats she ripped from YouTube and posting them on her Soundcloud page, Amolo released her debut project ‘Leave Me At The Pregame’ in 2020. 

 

The EP, which quickly soared up the charts in Kenya, served as a brief but emphatic introduction to Amolo’s minimalistic take on R&B. Standouts like the emotive opener “Puddles,” “Lush Green”, and “Jokes” showcase her clever and poignant lyricism that reflects on themes of love, depression, and self-healing. Along with sparse, melancholic production and the icy sensuality of her voice, Amolo delivered a remarkable debut that made her one of the most promising figures in Nairobi’s alternative music scene. Two years after ‘Leave Me At The Pregame,’ the Kenyan rising star released her debut album, ‘Asali.’  

‘Asali,’ which translates to “honey” in her native Kiswahili, showcased Amolo’s progression as both an artist and a human being, as she swapped out the sad-girl tunes that filled her debut EP for more vibrant and intricate records – thanks in part to Sir Bastien and Kenyan producer and rapper Lukorito – that explore themes of growth and the complexities and rich luster of love. The album’s lead singles, “Foundry” and the self-produced “Can’t Get Enough,” found relative success on streaming platforms, placing Amolo as one of the continent’s most exciting new R&B voices. About a year after the release of ‘Asali,’ Amolo updated the album with 8 new songs on a deluxe version that featured Kenyan stars like Bensoul, Xenia Manasseh and Zowie Kengocha. 

In August 2024, a few months after she delivered a splendid Colors performance, Amolo released a new project titled ‘What a Feeling.’ The 5-track EP, which essentially serves as an ode to Amolo’s home city, Nairobi, sees her experimenting with an array of dance sub-genres without straying too far from her R&B roots. While the project still retains much of the melancholy and elegance that defined her earlier work, there’s a hypnotic and pulsating energy that courses through ‘What A Feeling,’ that highlights a shift in the singer’s sensibilities. Amolo’s honeyed vocals gently seep through subtle Dancehall, Electronic, R&B and House-inspired production and the accompanying visualizer, a mashup of camcorder footage of her and her friends in Nairobi, also adequately captures the charming and nocturnal vibe of the tape. 

The project produced standout tracks like the sensual “Let It Flow,” the title track and “Take It,” which later got remixed by Ugandan singer Soundlykbb and rapper SGawD. With Amolo’s latest release, “Sweetest Girl,” the Kenyan rising star continues her intricate exploration of R&B music, merging it with varying styles to produce her own distinct and refreshing variant. There’s no telling what Amolo might do next, but with only a handful of releases to her name so far, there’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the genre’s most prominent faces across the continent.