Life in Quarantine: Here’s how Dami Oniru is spending her days indoors in Atlanta

Posted on by Tami Makinde

Life In Quarantine Is A New Bi-Weekly Column We Will Be Running To Give African Artists who are Quarantining In Different Countries Room To Speak About Their Current Creative Processes During The Current Global Pandemic. We Take A Look Into Their Daily Routines And Find Out How They Are Doing whilst having to be Away From Their Family And Friends With No End In Sight, Yet. This week, we speak to Dami Oniru about her time with her family in the States.

It took almost a whole week to get in touch with  r&b/soul singer, Dami Oniru, and from our conversation, I came to realise that it’s because the reclusive artist spends a lot of her time off social media. She’s heavily invested in her daily schedule, and doesn’t find that much time to be as plugged in.

Back in February, before the ‘Rona and shortly after the release of the colorful visuals for ‘5 Shades of Bri’, Dami Oniru flew to Atlanta to visit her mum and sister for three weeks. She certainly couldn’t predict the changes that would take place within the space of her mini holiday.

Today, it’s been three months since she left Lagos and Dami is making the most of the time indoors with her family. She is choosing to look at the current lockdowns and social distancing requirements as a blessing in disguise from God.

As she waits out the opening of borders so she can come back, Dami Oniru is spending her time indoors wisely. One thing about Dami is that she has always been well-organised in her affairs and this is something that continues today even with the lockdowns. From mapping out her daily tasks in the morning, cooking up quarantine games for her fans and followers to even taking up guitar and piano lessons, and still finding time to code, Dami Oniru is keeping busier than ever. From our conversation, she definitely inspired me to do more with my time, and that’s one of the qualities of her music which sets her apart.

 

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 On how she got stuck in Atlanta

I was meant to be in Atlanta for three weeks back in February when the coronavirus became a pandemic. Since then, I have been with my family, especially my mum and my sister and it’s great because I usually don’t get to spend this much time with them. We’re all just waiting for the borders to re-open so we can come back home, but I probably won’t even leave immediately it’s safe to travel just to see how everything out there plays out first.

On how she’s finding it

It’s been good, it’s been okay. This is the longest time I have been here at a stretch. It’s been good being with my mum and my sister. Georgia has actually re-opened, but I don’t really trust that decision because it had one of the highest number of cases in the US so my family and I are still limiting going outside and social distancing.

On how the city is like in lockdown

Like I mentioned, the city has pretty much opened back up because the state government made that call but it’s really just for essential workers and people who need to work to earn their living. Restaurants and fast-food joints are still closed but you can always order online. There are new social distancing requirements set in places like the supermarket as they have these stickers on the floor that ensure 6 feet distance between customers. I’m still spending most of my time indoors, and only go out for groceries. When I do, I glove and mask it up.

On her daily schedule in Atlanta

I usually start my day between 1pm and 2pm, I give myself free time in the morning cause once I begin my day, I’m sticking to my schedule until really late in the evening. I write a to-do list every morning and it’s usually the same thing, but it’s good to guide my day. I’m doing some coding courses, but I haven’t done it for the past two-three weeks because I have been focusing on the music aspect of my life and trying to properly plan and create a brand for myself, to utilise post covid. I’m ready to tie loose ends with everything concerning my personal brand Dami Oniru and focus on the music business side of things as well.

I now have a team, so every day, we speak about things that need to get done, and that’s mostly been about planning the release of my new single, which is out on Friday. Before this, I was coding every day and taking guitar and piano lessons, and I also started trying my hand at producing music. I actually haven’t recorded anything since quarantine started – I’ve written new songs but nothing recorded yet. My creative process usually is to work with producers and make stuff from scratch but with everything going on I have more or less had to take a pause on recording and focus more on doing things I didn’t have time for before coronavirus (BC). I’m also doing more songwriting, just trying to get better and do better because I don’t think we will get this free time again. I want to be as productive as possible.

 

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On her Quarantine Games

I think one thing a lot of people don’t know about me is that I am very playful and a kid at heart, I love playing all kind of games and I’m a big fan of word games and Sudoku. I thought this would be a great time for any artist to tie up loopholes; that could be with your fans. I was thinking of ways to connect with my fans that didn’t involve going on IG live cause that’s what hot atm. So the whole idea for the quarantine games was to get my database of fans up, so I could know what the numbers are like and try to engage with them. Because I feel like people connect with my music but because I am such a private person, they don’t really know much about me.

I google-searched a bunch of tools that could help me create word search games or crossword games and just things that could get people’s brains working and I created the games based on titles from my songs and yeah, I used that as a medium to send out emails and just gain more fans. The fastest marketing tool that’s free is definitely word of mouth because the number of people engaging with my games kept increasing. People did really engage, so its really cool to see they’re interested in me and what I have to offer and I’m happy to be a reason why they were entertained at this time. It has made my fans and I connect more, because in the emails I send out, I try to give a little advice to encourage them. A few people said they were hard, but I made some a little difficult on purpose. I hope to do more of that in the near future.

On her upcoming single, “Nowhere to Run”

The song is about forgetting who you are at some point, and eventually working through things and rediscovering your power and your strength in your weakness and just remembering that whatever the situation you are going to get through it. It’s called “Nowhere to Run”, and it’s ironic cause I mean we actually don’t have anywhere to run physically and mentally at the moment. Mentally, we will always get stuck with our thoughts and we can do things to distract ourselves in the meantime but no matter how far you run, and how much you distract yourself from what it is, you’re always going to come back to that problem. The best way is to work through it. You know how when you put a mentos in a Coke bottle, it explodes? That’s how it will be if you keep things bottled in.

On why she’s choosing to release music now

We are all collectively stuck at home, which could translate into a lot of things and that could be hard for some and easy for others. It may have an effect on the people who are used to moving around a lot and being in control, which has now been taken away and this ties into like fear and mental health. The song is basically about losing yourself and basically rediscovering your power. In conversations I have had with friends nowadays, I think this period is a time to self-reflect and just figure yourself out and if there’s anything you always wanted to do it, now is the time to do it. If there is stuff you need to heal from then now is a good time to turn inwards because like I said before, we don’t know when next we get this free time.

You will hear that the song sounds like a soundtrack for a movie, its cause it was a demo I wrote for Beyoncé’s Lion King: The Gift album. It’s inspired by Lion King, and I think the message in the song is really powerful so I thought no better time than now to spread the positivity. That’s always my goal, to put a smile on someone’s face through connecting through my music. I hope the song makes someone feel better about themselves, the song is just every positive affirmation you can think of.

One thing she loves, likes and hates.

One thing I love right now is how much I am learning and how productive I have been. In a normal setting, there are so many distractions so this is great.

One thing I like is staying home, which I love ordinarily but now I am able to spend time with my family and I really like that.

One thing I hate is not being in control. I know that God is control and I am always trying to teach myself to let go and let God. Not knowing what is coming next is kind of annoying, I know that regardless of whether I am in control or not, God’s plan is the best. I hope we’re all here to experience the good things after this.

 

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Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

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Best New Music: KiDi takes inspiration from the ‘80s on “Next Time I See You”

Posted on by Dennis Ade Peter

Two of this year’s best albums, The Weeknd’s ‘After Hours’ and Dua Lipa’s ‘Future Nostalgia’, are defined by their explicit affinity to pop music from the ‘80s. While both artists lean into those inspirations to create personal masterpiece, in the larger context, it further highlights the far-reaching influence of music from that era.

Closer to home, Odunsi (the Engine)’s debut album, ‘rare.’, took some cues from the disco-funk hybrid originated back then, and Tyler, the Creator sampled an obscure Nigerian disco gem for a standout cut off his last album, ‘IGOR’. Now, Ghanaian singer, KiDi is the latest African artist to draw inspiration from this infinite well, and a feat he manages to pull off sublimely.

‘Blue’, KiDi’s new EP features repeat-worthy songs, loaded with ear candy melodies over mid-tempo, highlife-indented production, however, it’s the disco-heavy final track, “Next Time I See You” that stands as the project’s most striking point.

The sonic difference of “Next Time I See You” sets it apart from those within its proximity, but that novelty is an accessory to a greatly crafted song which adheres to the simple, shiny and chic essence of pop music from the ‘80s. Disco music’s best and most potent trick lies in its ability to get listeners in a good mood without subverting the emotions behind the singer’s content.

On “Next Time I See You”, technicolour keys, a low-end piano synth riff and swinging, slip-n-slide drums create the bright atmosphere for KiDi to hold out his pining heart to a love interest he feels a strong, almost divine, attraction towards. “Next time I see you, I swear walahi, I no go let you go, no way”, he proclaims on the bold and bulletproof hook.

Where KiDi’s work is usually accentuated with tricks for melodic embellishments, “Next Time I See You” finds its allure in a somewhat straightforward vocal approach, giving us a full view into the singer’s raw ability as a vocalist. Coupled with his lyrics, some of which are sung in his native dialect, the song is an incredible take on a highly influential style of music, taking KiDi’s Ghanaian identity into account while also sounding as pristine and as catchy as disco music is supposed to be.

While “Next Time I See You” is a testament to the wonderful results artists can achieve by looking to the past, it also acts a leading example for future forays from other African artists. As an amorphous genre that pulls from any and everywhere, it won’t be totally unexpected if disco becomes a prevalent source of inspiration in the near future. What’s certain, though, is that KiDi’s well-executed banger—alongside aforementioned examples—has set a high benchmark for quality.

Listen to “Next Time I See You” here.

Featured Image Credits: Instagram/kidimusic

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

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Songs of the Day: new music from M.anifest, NSG, Bella Alubo, Marv OTM and more

Posted on by Tami Makinde

Today, one could very easily argue that the Nigerian musical landscape is more liberated from the audience’s expectations than it’s ever been, and artists now have the room to re-imagine genres to fit their own personal expressions. This allows for an expansive range of new music from many different artists, which can become overwhelming, so we’ve decided to help out by sorting through new songs from across all the sub-genres around the continent to highlight all the new releases you absolutely Need to hear.

Last week, we brought you Rema’s new collaboration with Samzy, we also had new music from Aramide, Kida Kudz, Tomi Agape, WurlD, Yinolu, FamousCTwo, and Psycho YP as well as Namibian rapper, Lioness’ new album. To start off the new week, we have new music from NSG, Bella Alubo, Marv, Manifest, Mugeez, and many more. Dig in, and you’re welcome.

NSG – “Porsche”

Raise your hands if you were today years old when you realised NSG stands for Nigeria slash Ghana! Over the weekend, the UK’s biggest music group, NSG announced their forthcoming EP, ‘Roots’ which is due for release next month. The 18-track collection is set to feature Jae5, Chip, Tion Wayne, Legendary Beatz including pre-released fan favourites such as “Options” as well as their new single “Porsche”.

In their usual fashion, the boys are just having fun and vibing with each other over a fusion of trap and afrobeats-inspired sounds. In the accompanying music video, the group is seen having fun and boasting about their success since stepping on the scene as they enjoy the company of seductively clad dancers and deliver their verses in front of a Porsche – no less.

M.anifest – “We No Dey Hear” featuring Kelvyn Boy and Kel P

Manifest is back with a new single “We No Dey Hear Word”, a swift follow up to his last self-assured single, “No Long Talk”. This time around he teams up with Kel P, and fellow Ghanaian rapper Kelvyn Boy for a catchy upbeat number about staying true to oneself despite the curveballs that life throws.  ‘New things on the horizon/Boys no dey hear chale that’s the slogan too’ M.anifest sings assertively before he is joined by Kelvyn Boy’s melodious voice on the song’s hook both adding to the uplifting tone of the song.

The accompanying video directed by Allison Swank begins with the propitious message ‘When life puts me in a tough situation, I don’t say why me, I say ‘try me’. Shot in Accra, we get to see the sights and sounds of the city and watch the immense strength and courage of its inhabitants.

Bella Alubo – “Loneliest Girl in the World (Quarantine Edition)

Bella Alubo is currently isolating in London, where she is bagging her Master’s degree and for her latest offering has given us something to enjoy during the quarantine. On “Loneliest Girl in the World”, Bella whips up a syrupy synth production upon which she speaks about the struggles of living alone abroad. ‘I ain’t go no money/I ain’t got no friends’ she sings, baring her sould for her fans to see. With this song, we get to understand her isolation routine a bit more and the accompanying visualiser helps paint a more vivid picture of what the artist is getting up to. We also love that the track is a donated single, all proceeds she makes will be going towards COVID-19 relief in Nigeria, so make sure you listen and keep listening!

Marv OTM & Malik Bawa – “Jetski!” featuring Zilla Oaks

Abuja collective, Apex Village has whipped up a considerable level of fame in the last couple of years, putting out a prolific stream of music releases to satiate their expanding fanbase. Despite the strength they garner as a group, the members of the collective are currently cultivating budding solo careers from Psycho YP to Zilla Oaks and Marv OTM. This month, producer and artist Marv OTM is set to release a new project with fellow producer, Malik Bawa and ahead of this, they have shared a new single “Jetski!” featuring one of our Fresh Meat artists, Zilla Oaks. The new single sees both artists trading bars about running circles around the competition and staying ahead of the curve with their impressive braggadocious raps.

Emtee – “Johustleburg”

South African rapper, Emtee has just released an ode to the city that raised him into the man he is today, in new single “Johustleburg”. Producer and long-time collaborator, Ruff is responsible for the frenzy of scant bass, hi-hats and whistles on the new track. ‘You can’t play a Jo’burg nigga like that/people here hustle day and night’ he sings, admirably talking about the city of Gold and reflecting on the dangers that many within the city face.

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Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

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For the Girls: In conversation with Deena Ade about her love for Lagos, her music and SlutWalk

Posted on by Tami Makinde

‘My name is Deena Ade and I live in Lagos’

Deena Ade is a fiercely independent artist and our very first interaction where she promptly mapped out what the nature of our subsequent conversations were going to be gave me a good sense of that. She drew my attention to a music video release she had the following day, telling me: ‘I am hoping we can collaborate on this and perhaps you can gain insight into the elusive and reclusive Deena Ade, creating in isolation’. Of course, I was instantly intrigued by this pointedly confident artist, who just two years prior, had put on the ‘infamous’ SlutWalk in Lagos. We quickly became acquainted speaking about her approach to music, and her interest in dismantling societal views against women’s sexual autonomy.

Given this, I was very surprised when Deena Ade stated her reservations about believing women who have accused someone of assault anonymously, because she thinks there’s a chance that it could be false. ‘I know my views are not conventional, but I’m a firm believer that if you are going to do something, do it right. If you’re going to accuse somebody of rape, I need you to come forward and not be anonymous because how can I argue and defend somebody I cannot confer who they are’. I immediately explained to her that anonymity doesn’t negate the validity of the claim, especially given the current climate where people are quick to defend abusers for the abused to see. Still, she maintained that:

I am never going to take one side of the story only especially when it’s from an anonymous source. I have brothers and I am very worried about that. It might seem tough and unfair but I am not for the dragging especially when we have no evidence whatsoever’ 

As stated earlier, Deena speaks with strong conviction, which made me wonder whether to prod further – I didn’t. Given that the patriarchy is woven so deeply into our societal fabric, it’s not alarming to see women with opposing views. With this reality in mind, any woman who is challenging the patriarchy in their own little way is contributing to the fight, which needs to be tackled from different angles. At the end of the day, we’re all eating the same shit from different toilets, so where I see someone not as committed in an area I’m committed to, just shows me how much more I need to do for the women I’m fighting for. 

One person’s dog in the fight, like Deena Ade’s might be to champion sexual health for women, whilst another person’s, like mine, could be more interested in ensuring that victims of assault are always seen and heard. So while our views differ, Deena Ade is entitled to her own views. I believe that it’s my responsibility, however, to educate people within my reach about the damaging effects of harbouring such views could cause for a generation of women, and the dangers of letting allegations of assault slide.

 

Deena Ade might be from Ibadan, which is very different to Lagos, however, she clearly has the inbuilt hustle mentality that comes with living in Lagos, which is probably why she made the decision to make it big over here back when she was in university. Back then, she would periodically visit the buzzing metropolis for holidays with her cousins, which drove her determination to never return home. She tells me:

Life in Lagos is pretty interesting, very different from Ibadan. It’s very exciting but very challenging as well. There are a lot of benefits to being a woman here, but it’s like a minefield most of the time

I didn’t want to go back to Ibadan and have a simple life – be a banker, and have a house and family. I wanted to go to Lagos and get it. I saw all the opportunities here and there was no way I was going to pass up on it. I made the decision to move, I worked and I saved money for rent and that was it’ she tells me with a laugh. 

For the most part, she’s doing it all on her own with the help from a few friends she made in the industry. She cites her relationship with Sarz and Wavy the Creator as one of the reasons she was welcomed so quickly into the Lagos music scene and refers to them as friends turned family, who have kept her going in her darkest moments. ‘Once I decided that I wanted to make music, I started making the necessary connections in preparation for me moving to Lagos. Of course, everything was not as it seemed and some of the people I met over the years were not as useful as they portrayed to be later’ she tells me, stressing the need to protect your energy from people in the industry ready to take advantage of young artists.

 

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Much like it is in person, Deena Ade’s superpower is her ability to connect with her listeners through reliability, and her focus is on romance and love. She’s just finished her new project and is excited for the ‘rona to be over so she can begin rolling out the new singles. In her latest song, “Bitter”, the anti-love anthem where she curses out a past lover is actually not even her own story.

‘Bitter is not my personal experience, it’s actually one of my close friends. He was breaking up with his spouse and would not stop talking about it. So I wrote the chorus based on everything he had been saying. In the verses, I was like I wonder what she is saying so I wrote it from her perspective and just kind of mix-mashed them both in’

It’s this ability to effectively communicate matters of the heart, that has endeared Deena to listeners. Earlier this year, she landed a spot at the last Femme Africa showcase, a feat that she found very thrilling. She thinks platforms like Femme Africa are really important in showcasing and highlighting female talent, in order to gain the attention of the big wigs who can really make a difference and fill the gaping hole, which lacks women in the entertainment industry as a whole.

Outside of the music, Deena is also very interested in fighting for women’s equality, and her contribution is through sexual liberation. She’s mostly interested in women’s sexual health and increasing the accessibility of contraceptives for women in Nigeria. She has been working with a few powers that be to make this happen and plans to host another SlutWalk if miss ‘rona ever leaves us alone.

 

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Through her sonic quality and bolshy nature, Deena is an important facet to the Nigerian music industry as a whole. We need more women who exist loudly and outside of convention to challenge the status quo, mainly because of the current lack there is. As we have explained previously, it’s important for women to be presented with music which mirrors their own experiences, and Deena is a good candidate for this. Perhaps something that could even help shape her own views, when she’s privy more theory outside of the scope she’s interested in for a more wholesome fight against the patriarchy.

Featured image credits/DeenaAde

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: Let’s talk about the big bad F: Feminism

Where Were You: Femme Africa’s virtual panel was full of wise takeaways for creatives

Posted on by Tami Makinde

Beyond the music, Femme Africa has also been committed to paving the way for other creative women manoeuvring the industry. They did so with their first-ever panel talk, Coffee With A Creative and their latest one, Spilling The Tea where we got to hear directly from women in the industry about their various experiences.

Over the weekend they brought Spilling the Tea directly to us through their first virtual webinar, which was aimed at opening up an honest dialogue about alternative streams of revenue for artists and creatives in the wake of the pandemic.

 

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The Spilling the Tea panel included some daring and revolutionary women in the creative scene including Elizabeth Sobowale, brand manager and consultant to Dj Cuppy, Kimani Moore, the marketing manager for the diaspora at WMI Warner Music and Grace Ladoja, founder of Metallic Inc. & Homecoming, as well as the manager to Skepta, Sarz & Octavian to name a few. These formidable spoke about the current state of the world, how they manoeuvre their fields and the effects of the COVID-19 pandemic on creative careers.

The creative industry today has been seen a huge hit thanks to the pandemic, and many young creatives have suffered a decline in their workflow and income. It was particularly heartwarming to hear the panel reassure young people that they can still remain active during these times, and offer practical solutions to make the most of the time indoors. Spilling the Tea was a great way to take our minds off the stress, and also an interesting way for creatives who signed up to the event to tap the brain of successful people in the industry and gaining perspective from different angles of the industry.

The speakers didn’t only inspire us with their personal journeys, they also shared some pertinent advice for young people who are manoeuvring the industry, using their own experiences as a milestone. The things that stuck out the most were: Grace Ladoja speaking about the importance of budgeting and mapping out finances such that you’re always in the position to plan ahead and adjust accordingly; Elizabeth Sobowale speaking about the value of staying true to the brand you have created for yourself, using her client, DJ Cuppy as an example, stressing the importance of not falling out of character, just to stay on and perform for everyone, especially in these times when we’re all stuck at home. Another thing that stuck out was Kimani’s advice for young creatives to aligning their mindset towards work, speaking about how one should always be working to improve yourself and gain experience even if you’re not being paid, because it will always serve you when bigger opportunities come your way.

Speaking to the NATIVE, Femme Africa’s founder, Ayomide Dokunmu shared her and her ever hardworking team’s motivation behind the webinar, and the excitement at landing their event speakers:

“The team and I had been pretty stressed about the pandemic, lockdown, and loss of revenue that we started thinking more about what we could do and how we could really make an impact. That’s how we decided to do another “Spilling the Tea”. In fact, it was great because we could get those who weren’t in Nigeria and have as many people benefit from it regardless of their geographical location.

For an event, we always have who we want to speak and have backups incase our speakers are unavailable. We decided to literally shoot for the stars and we were very pleased when we got these three amazing women. The artists they represent range from up and coming to those who have already achieved mainstream success.

They all have unique stories that people do not really know about from Grace being homeless three times to Kimani barely surviving on $100 a month after moving to Atlanta to pursue her dreams. The impact on the scene is incredible and learning from them was something else. The feedback we got was great and can’t wait to do more!”

Featured image credits/Femme Africa

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: In conversation with Ayomide Dokunmu, the founder of girl-group initiative, Femme Africa

Songs of the Day: New music from Rema, Kida Kudz, Aramide, WurlD, Tomi Agape, and more

Posted on by Tami Makinde

Today, one could very easily argue that the Nigerian musical landscape is more liberated from the audience’s expectations than it’s ever been, and artists now have the room to re-imagine genres to fit their own personal expressions. This allows for an expansive range of new music from many different artists, which can become overwhelming, so we’ve decided to help out by sorting through new songs from across all the sub-genres around the continent to highlight all the new releases you absolutely Need to hear.

Earlier in the week, we brought you a collaboration between Don Jazzy and Falz, Cassper Nyovest’s second single of this year, the lead single from a joint project between Vector and Masterkraft, and more. To start off the weekend, we’re bringing you new releases from Aramide, Kida Kudz, Tomi Agape, WurlD, Yinolu, FamousCTwo, and Psycho YP as well as Namibian rapper, Lioness’ new album. Dig in, and you’re welcome.

Aramide – “Me & You Time”

Aramide is back with her first single of the year following a short break from music. “Me & You Time” is a romantic number about spending time with the ones you love. Over the mellow beat produced by Sizzle Pro, Aramide sings about being so encompassed in her love, ‘I’m loving everything that you do/E be like say na juju’ she says over the acoustic strings and acapella-like humming in the background showing how quality time ranks highly in her love languages.

Samzy – “Red Dots” featuring Rema

Nigerian-American rapper, Samzy has just released his second official single “Red Dots”, one of the pre-released singles off his forthcoming EP which features Mavin’s golden boy, Rema. The catchy bass-drop anthem is produced by Eem Triplin, and has both artists trading hard-hitting bars about obliterating their competition. ‘Red dots, what’s going on call the boss/man I pray I never get caught’ Rema sings on the hook, tapping into his known trap sensibilities for this self-assured number. It’s great to see Rema collaborating with younger artists from around the world!

Kida Kudz – “Jiggy Freestyle”

Since dropping his debut tape ‘Nasty’ earlier this year, Kida Kudz has kept the freestyles coming at an impressive rate. This week, his latest offering is “Jiggy Freestyle” a loose number on which the UK-based artist addresses fans directly, asking them to stay jiggy even during the quarantine. Over the drum-led beat produced by “Tasty Time” producer, KD, the JFC leader puts on a braggadocious front as he raps, ‘NBG no I got no belt/On a lockdown still jiggy’ clearly having fun in this short freestyle.

WurlD – “Wayo (Kpe Le Wu)

All month, WurlD has been releasing singles in anticipation of his project ‘AFROSOUL’ which we’re expecting later on in the month. This week’s offering, “Wayo (Kpe Le Wu)” sees him in usual form, where he addresses a romantic subject pleading that she loves him and skips the games in their relationship. Over the groovy percussions and pounding drums produced by Kel P, WurlD sings, ‘No dey switch personalities/we don dey get too comfortable’, admitting his deep feelings, which he wishes his lover reciprocates.

Tomi Agape – “London”

Tomi Agape is back with a new single “London”, a smooth follow up to her earlier single “This Way”. The London-based artist taps into the drubbing infectious beats of Juls, upon which she delivers a rapid-fire number about her city, London and the steady grind to success. ‘Take it on the chin, don’t stop/Young one inna London tryna make that dough’ she sings in her usual laidback drawl, as she flips her current situation into a catchy upbeat bop letting listeners know she is focused on making her music and stacking her paper.

Yinoluu – “(In) B/W” featuring AYLØ & AY

Ahead of his EP drop later this month, talented producer Yinoluu has been dropping singles ahead of the upcoming project, and this week, he has tapped into the infectious voices of AYLØ and AY for new single “(In) B/W”. The pair are a smooth union of undulating airy vocals, as they muse over the subject matter of love and empathy. AYLØ switches up his usual flow, rapping ‘Got a job and now you renting nice apartments/Got it going on like you got that’ using ornate writing to capture his side of the relationship, where it seems like the girl is doing well without his help.

C-Two – “Sosa” featuring Psycho YP and Famous Bobson

UK-based rapper C-Two tapped two Nigerian rappers, Psycho YP and Famous Bobson for his debut single of the year “Sosa”. Produced by Mudz Beatz, the upbeat number has all three artists trading hard-hitting bars about women and getting their shit popping. ‘Power changing hands now/Don’t fuck with the rules/smoke next to the no-smoking sign’ Psycho YP’s raps stealing the show in his usual self-assured manner, as he puts on a confident show and cocksure brags over the upbeat track.

Dimss – “No Regrets”

Rapper, Dimss has just released a new project ‘GoingThruIt’, an 8-track collection of introspective tracks where he digs into the frustrating parts of his life and turns it into relatable numbers for listeners to enjoy. On the first track, “No Regrets”, he raps about making it big with his boys over the catchy drubbing beats. ‘I’m just tryna better me/I’m just doing it for the family’ he raps reflectively, showing a deep self-awareness of his flaws but resolving to do better rather than be weighed down by the past.

Featured image credits/instagram

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: Here’s all the new music you may have missed from earlier in the week

Watch Editi Effiong’s new short film, ‘Fishbone’

Posted on by The Native

Following the success of his first two feature films ‘Up North’ and ‘The Set Up’, over the weekend, Editi Effiong released an impressive short film, ‘Fishbone’ which does a good job of tackling the issue of drug counterfeiting, through the lens of its victims and perpetrators. Set in one of Lagos’ finest slums, Makoko, the film also manages to touch briefly on life in low-income communities and how their talents are exploited by the high and mighty in society.

Shot handsomely by cinematographer Femi Awojide, ‘Fishbone’ brings to mind Akin Omotoso’s  ‘The Ghost and the House of Truth’, another film shot mostly in Makoko that captures its filth beautifully. Both movies show the abandonment of these slums by the authorities and the heinous crimes that occur daily. In Omotoso’s film, a girl doesn’t return home after school – she has been raped and murdered; in ‘Fishbone‘, ghetto kids are recruited to produce fake drugs that are mostly bought by people like them because they are cheap.

‘Fishbone‘ has three principal characters; Mama T, Schoolboy and Inspector Cole, who represent the rich, the poor and the law, respectively.

Mama T (played by Shaffy Bello) runs a drug counterfeiting lab in Makoko, and we first meet her in a gorgeously lit scene where she berates Schoolboy for being afraid of the police. “You fear too much,” she says to him in Yoruba, and through this conversation, we learn that she’s a woman who understands her place in society – above the law. Schoolboy, one of Mama T’s eyes on the street, has just run down to the lab to inform the team that the police are around. The police have been investigating Mama T for a year, but she’s so elusive that they didn’t realise she’s right under their nose.

In one of the film’s most touching scenes, she and the inspector have a tete-a-tete: “Brave of you to come out here, no offence but this is no place for people like you,” he says to her. She replies, “looks can be rather deceiving, inspector.”, which brought him to realise the weight of her words, and the reality of the system he works in.

In just over 30 minutes, ‘Fishbone’ tackles drug counterfeiting, social injustice and karma. Editi Effiong’s directing and screenplay impressively weaves these themes to create a powerful film that critiques, informs and transports its viewers to a world that’s familiar but often forgotten, where wealthy Nigerians get away with every evil they perpetrate, and the poor man hopes karma gets them. Unlike in the real world, however, we see karma in full effect albeit distasteful, given that it ropes other innocent people into the suffering the perpetrator deserves.

In every scene Mama T appears in, Effiong makes her the most powerful presence, she’s dressed entirely in bright red and adorned in jewellery, but as she unravels, her appearance becomes less illuminating. As Mama T, Shaffy Bello is magnificent, never in a movie has her facial expressions been this intentionally used to serve a narrative. In the film’s most exciting scene, the  Inspector (played Etim Effiong) and Mama T have a conversation about conscience, which is more of a monologue from Effiong, since Bello’s facial expressions speak for her. This use of silence to communicate is abundant in the film, and is a curious but welcome choice for a debut director.

‘Fishbone’ is mostly excellent, the problem with the short comes in a series of post-credit interviews on piracy and drug counterfeiting, but more about the former, and given the film’s subject is the ills of drug counterfeiting, talking about intellectual theft in Nollywood feels insensitive. It would have been in better taste to speak to people who have suffered from the effects of drug counterfeiting; let’s hear their stories. This is however, not to dismiss the issue of film piracy; it’s definitely a worthy conversation, just not here.

Watch ‘Fishbone’ here:

Featured Image Credits: Youtube/ShowdemcampVEVO

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Words by Daniel – Nollywood blogger and critic. Tweet at him @DTNollywoodblog.”

ICYMI: VADER THE WILDCARD’S “YOU GARRU BE KIDDING ME” IS AN INFECTIOUS POP-RAP BANGER

Rap Song of the Week: Show Dem Camp take a well-earned victory lap on “That Year”

Posted on by Dennis Ade Peter

If you’ve been following the duo of Tec and Ghost since their debut album from 2011, ‘The Dreamer Project’, you’d know they took the scenic route to building up a reliable and supportive fan base, as well as their rep as pioneers and OGs. Last December, Show Dem Camp convened their annual concert series, Palmwine Festival, for the third time in a row, which is a huge feat for the pair.

Insider sources say SDC’s latest single, “That Year”, was initially recorded as far back as 2015, but the song clearly carries more weight being released in this reflective period for the whole world. Even though they already had three critically acclaimed projects and the seminal hit song, “Feel Alright”, Show Dem Camp was largely in hibernation mode circa 2015, and if “That Year” had dropped in that period, it would’ve been a proclamation of their resurgence.

Looking back now and considering how much they have achieved since effectively coming back with ‘Clone Wars, Vol. 3’ in December 2016 and ‘Palmwine Music’ in the summer of 2017, the song now comes across as an unbridled celebration of their trajectory since.

 

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“That Year” is a well-deserved victory lap, which finds Tec and Ghost reminiscing about a special period in their lives when everyone else thought they were popping when they knew they really weren’t. It’s a documentation of the valleys in their career, but rather than get needlessly sentimental about it, they cherish the moments and the setbacks, while also sharing the lessons learned along the way. In the process, they are also immortalising close chappies and fallen friends who were integral to that period in their journeys.

With Sir Dauda’s bright and prayerful hook, and Ikon’s colourfully aggressive production, “That Year” pushes towards a transcendental edge. The song is emotional enough to get you in your feels if you actually sit and think about it for a minute, but is also boisterous enough for you to embrace the joy without question.

Watch the video for “That Year” here.

Featured Image Credits: Youtube/ShowdemcampVEVO

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

ICYMI: VADER THE WILDCARD’S “YOU GARRU BE KIDDING ME” IS AN INFECTIOUS POP-RAP BANGER

Music Friday: New projects from E Kelly, Lioness, Kiienka, KiDi & more

Posted on by Dennis Ade Peter

Friday is universally known as the day for new music releases. This means there’s so much music to wade through, and a few might get lost in the shuffle. To help out, here’s a run-down of newly released projects the NATIVE recommends from this week’s slew of releases. From the E Kelly’s debut EP, to comeback projects from Dr Sid and Dammy Krane, and new projects from rappers Lioness and Phlow, and more, make sure you dig in–you’re welcome.

E Kelly – ‘No Secrets’

E Kelly has been around in the industry for over a decade, and in this time has amassed a sprawling catalogue of classic hit singles, helming songs for a wide range of artists including Wizkid, Mr Eazi, M.I Abaga and more. For his latest move, however, the producer and songwriter has just dropped his debut project, ‘No Secrets’, a 5-song EP that emphasises his curatorial skills. The project features Mr Eazi, Joeboy, King Perryy, Boybreed and Minz.

Dr Sid – ‘The Interesting EP’

Even though Dr Sid’s last project was his sophomore album, ‘Siduction’ back in 2013, he’s still managed to stay in relevant afropop conversations throughout. The veteran Mavin artist has only dropped a few one-off singles, while also taking long breaks of silence in between. His comeback project, ‘The Interesting EP’, is made up of 5 songs, with guest appearances from Don Jazzy, M.I Abaga, Eyango and the pre-released “Lit” featuring Ladipoe.

KiDi – ‘Blue’

Ghanaian singer KiDi finally released his long-awaited debut album, ‘Sugar’, last year, and not up to a year later, he’s returned with a follow-up. Nearly a year later, he’s back with ‘Blue’, a new, 5-track EP that continues his knack for candy-like melody over groovy beats. While his debut was star-studded, KiDi opts for a more independent release this time around, with the sole feature coming from Ghanaian singer Adina.

Lioness – ‘Wish You Were Here’

“I needed to be in hot water to evolve”, Namibian rapper/singer Lioness explained in a recent interview with the NATIVE. The result of that evolution is her newly released album, ‘Wish You Were Here’, a 12-track project that joins her growing catalogue as the artist’s third official LP. She’s joined on the album by J. Derobie, Ogranya, Dizzo, South African DJ/producer Young DLC and more.

Kiienka – ‘Spaceman 2.0’

Kiienka properly introduced us to his experimental style of trap music with his debut EP, ‘Spaceman’ last year,  and he’s consolidating on that artistic identity with the newly released sequel, ‘Spaceman 2.0’. Including the catchy lead, “In the Ends”, ‘Spaceman 2.0’ is made up of eight tracks, entirely producer by frequent collaborator, Veen. Unlike his feature-packed debut, the new project spots just two guests in Psycho YP and Libianca which leaves room for listeners to really see what he’s about as an artist.

Phlow – ‘Marmalade’

Nigerian rapper, Phlow earned some buzz for her fierce and impressive lyrical displays on several cyphers, features and a few projects. After a low-key 2019 which initially started with a head-turning feature on Show Dem Camp’s “White Flags” and the soulful EP, ‘Gloria’, she’s opened her account for this year with a new project, ‘Marmalade’. The 6-track EP, produced by Alpha Ojini, features guest appearances from Alpha, Psycho YP, Blaqbonez and soul singer Tomi Owo.

Dammy Krane – ‘4 D Girls’

Dammy Krane announced the release of his new EP, ‘4 D Girls’, with the release of the projec’ts second single, “Aje”, last Friday. The 4-track tape also includes the previously released “Confess”, featuring Ghanaian singer Nana Boroo. Rounding out the features, Bisa Kdei and Kiddominant make appearances on the final song, “Body”.

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

ICYMI: CHECK OUT NEW PROJECTS FROM DRB LASIGIDI, MAISON2500, NORTHBOI, TERRI & MORE

In loving memory of Picture Kodak

Posted on by Dennis Ade Peter

It’s a bit strange to think that when there’s a pandemic killing people all over the world, people are still dying of other things. A week ago, popular afropop dancer and model Love Divine Ike fka Picture Kodak passed away following an electrocution incident. She was recognisable from her appearances in music videos, a sprawling list including Burna Boy’s “Gbona”, Olamide’s “Oil & Gas” and Blaqbonez’s “Haba”. She was also a founding member of Westsyde Lifestyle, a prominent dance crew dedicated to amplifying street-bred dance culture through appearances in music videos, conceptual dance videos and stage performance.

Shortly after Love Divine’s passing broke to the public, condolences started to pour in from artists, colleagues and admirers. With her résumé, the reactions were appropriate. Beyond the picture posts and perfunctory “R.I.P” missives, there were grief-ridden tweets from Chinko Ekun and Dremo, testimonials to her bubbly and good-natured personality from Simi and Blaqbonez, and Zlatan expressed his sadness at her death by delivering a verse over the soulful folk instrumental for Bankulli’s “Gbemiro”.

Without a doubt, Love Divine impacted the Nigerian music space, and according to those glistening comments, in ways that may never be fully appreciated by those are not industry observers. It is a bit ironic that for a face many will recognise from their favourite music videos, her contributions have never really been explicitly acknowledged until now. This is very common for many women who appear in music videos and on stage – they are beamed unto our screens and briefly share the spotlight with the artists, however, they barely bear any other considerations beyond satisfying our gazing eyes in those moments.

If you ask an artist how they’d like to spend a deep promotional budget, chances are, shooting a music video will be at the top of that list. The reason is simple: the right videos leave an impression on the viewer, increasing the song’s chances for commercial success; and it also builds or consolidates an artist’s brand. More often than not, these visuals will feature dancers/models who are entrusted with improving the impressionistic value of the video.

Without needing to dig too deep, there’s a wealth of recent examples of the importance of women to impressive music videos. It’s impossible to envision the entrancing video for Burna Boy’s “On the Low” without its dancer’s sensual and boisterous performance; the hypnotised lady in Wizkid’s “Joro” personifies the song’s bewitching groove; DJ Tgarbs’ bodacious figure is essential to the zany idea behind Ycee’s “Vacancy”; Seyi Shay’s femme fatale persona in the video for Show Dem Camp’s “Do Me Nice” heightens its storytelling devices; and Love Divine’s ferocious and sexually charged performance wass the central point for Blaqbonez’s “Haba”.

These examples point to the important, yet, often understated role these ladies—widely described as video vixens—play, especially in afropop’s bigger picture. In the last few years, Nigerian music has been increasing its global attention, and while a significant part of that is down to its groovy and diverse sound, its colourful videos are also vital. If you scroll through the YouTube comments of the music videos from popular Nigerian artists, you’ll find viewers leaving comments to announce their locations, many of them from far-flung countries across the continent and the world. Since they’re quite the staple in these videos, it doesn’t seem far-fetched to define the eye-catching presence and roles of dancers and video vixens as essential.

In an industry teeming with male singers who regularly sing about women as the object of their affection and affluence, video vixens mainly come off as accessories. A big part of that comes from the influence of hip-hop, a genre that has been single-handedly responsible for shaping the perception of video vixens in the last three decades. Blame it on the inherent machismo, and the misogyny resulting from it, rap videos have set the sexist identity these women all supposedly fit, an image that has been taken to heart by audiences who are simply content to follow along.

Many rap fans will be familiar with Karrine Steffans, a former video vixen from who became known for alleged sexual relations with a long list of popular rappers, was infamously nicknamed Superhead and has been referenced in many sexually derogatory punchlines. In 2005, Steffans published ‘Confessions of a Video Vixen’, a memoir in which she highlights the casual degradation and sexual exploitation she faced during her stint as a vixen. The memoir stirred up controversy, with the worst cynics calling Steffans a snitch and deeming her experiences as occupational hazards of the profession.

To many, being a video vixen automatically equates to being a sex worker, and in a conservative Nigerian society, being perceived as a sex worker means that respect is regularly thrown out of the window. Sure, sex sells, and while exuding sexual appeal is a visible part of their arsenal, that’s not all video vixens represent. Many artists fancy their videos as visual experiences, and by executing their stipulated roles, these women are important to translating the working idea into an enjoyable video. It’s a simple ideal with its own complications.

Women like Picture Kodak were a key part of women using their bodies as an empowering expression of their femininity. While this is definitely a complex debate, what’s of utmost importance is conceding to their autonomy and respecting the integral nature of their work to the colourful visual identity of contemporary Nigerian music.

While they might never be able to get the same kind of spotlight artists do, acknowledgement of their importance in the game goes a long way. In recent times, the Kalakuta Queens have begun to receive their flowers as the unsung heroes of Afrobeat. Known for their energetic and seductive dance routines, what these women represent to Afrobeat’s aesthetic is now being acknowledged, over three decades later, through the critically acclaimed play, ‘Fela & the Kalakuta Queens’.

Even with wildly varying nuances, Nigeria’s current music scene can and should take cues from a reverent act like this, even if it’s on a much smaller scale. Regardless of the fact that they are nameless to many, these dancers are integral to representing the music we all love and support, and they should always be regarded in that light.

We shouldn’t wait until it’s too late to give them their flowers. Rest in peace to Picture Kodak.

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

ICYMI: WE SHOULD BE GIVING MORE PROPS TO SOUND ENGINEERS IN AFROPOP

NATIVE Exclusive: Namibian rapper Lioness is currently undergoing a full circle moment

Posted on by Tami Makinde

‘I needed to be in hot water to evolve as an artist’

Latoya Lucile Mwoombola, fka Lioness is currently undergoing a full-circle moment as she sets out to release her third album ‘Wish You Were Here’ tomorrow. The Namibian rapper has been working on her career for a minute, and now we are finally witnessing the result; a 12-tape collection of powerful snapshots of her current state of mind.

The journey to stardom didn’t happen overnight for her; in fact, a direct and meticulous series of events have led the rapper to be where she is today. A young Lioness began her music career unknowingly when she was enrolled in music lessons. ‘My mum created the monster’ she tells me with a laugh. ‘I played the piano and my sister played the violin. She was really more of the musical one growing up, and I was the academic child. When we got older, she got a computer and had the Fruity Loops app where she would make different beats’. Watching her sister create intricate beat patterns is what inspired Lioness to start singing and writing down lyrics, and also develop her singing voice to the level it needed to be at. 

 

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My late mother was always supportive of my sister and I,  but she still expected us to have degrees. She was like “your reality is that you’re an African woman, you are black and you live in Africa, the chances of you becoming a superstar right now is not impossible but always have a backup plan right now”.

Regardless of the fact that she knew the music was her passion, after signing up for different cyphers and a deeply introspective period dedicated to growing in the field, Lioness still had to secure her medical degree before anything else. At the moment she has currently begun her medical career full time as the ‘Rona hits countries around the world. Although her asthma limits how hands-on she can be at the moment, she tells me there are still so many other ailments to treat in spite of everything else. ‘My job is so demanding, it doesn’t really ever stop just because there’s a pandemic. I guess it’s a whole lot of wave of paranoia as well.  A common cold will have everybody freaking out now so our job is a little bit harder than it normally would’.

When she’s not on duty at the hospital, she’s working round-the-clock on the 24hour helpline and scribbling down lyrics when the inspiration hits. It’s this work ethic and impressive balance of her two worlds that got her a performance slot alongside Kenya’s Nazizi at the 2018 Coke Studio Africa and a top 10 slot at Mr Eazi’s emPAWA Africa imprint.

On the eve of her album release, the Namibian doctor and artist sat with us to talk the new album ‘Wish You Were Here’, her involvement with Mr Eazi’s emPAWA Africa, her personal growth as an artist and what it means to stay true to yourself.

NATIVE: There weren’t female rappers in Africa when we were growing up. Who did you draw inspiration from when you were younger and who inspires you the most now?

LIONESS: I was as ignorant as the layperson would be in terms of female rappers in Africa. I remember Nazizi in Kenya, but only faintly. Even though we are friends now, I remember hearing of her but I didn’t follow her. I was more into entertainment in the sense that I was into pop in Africa. But I loved Brenda Fassie and Yvonne Chaka Chaka.

Brenda Fassie especially because she was just a whole lot of woman – she was like fierce and she was just doing her own thing. She was just snorting her coke, she didn’t care. From that point of view, I loved that. Not the drugs or whatever, I loved how she really defied the odds and any definition. Especially that time in history where SA & Namibia were really connected. That was the next best thing for us, I admired the dancing, singing, and energy.

Internationally, I also loved Left Eye of TLC, Lil Kim, and Foxy Brown. The fearless embrace of their sexiness and femininity while still spitting hard bars won me over and really endeared them to me. Oh and I’m a Barbs for life!

NATIVE:  How did it feel going from one of the top 100 in Mr Eazi’s emPAWA programme to being one of the top ten finalists?

LIONESS: I met Mr Eazi at Coke Studio actually, and he told me about emPAWA, and then I sent him a couple of stuff which he really liked. He’s also straightforward so he would have told me if it was trash. Then I was chosen to be part of the top 100 out of thousands of entries and then I landed the top 20 list. But then some people had visa problems, so he was like you know what just come, you’re really hardworking’. So then I went there, it was intimidating at first but I needed to be there to evolve. 

NATIVE: How would you say that programme helped you evolve as an artist?

LIONESS: I needed to be in hot water to evolve as an artist. I learnt so much from them, and I made life long friends. The goal was just to be better and make each other better. It was not so really so much of the competition but really moving as a unit. I learnt so much from the mentors like Diplo, Mr Eazi, Juls and others. I met people I used to look at on my phone, like there they were in front of me, it was crazy. 

Mr Eazi is great, he didn’t want to make us famous through himself, because they would be like oh you have a feature with Mr Eazi so let’s only pay attention to that. He wanted it to be like he was the one featured on the song, not the main attraction. He really tried to focus on establishing us as individual artists and not making us live off his hype. We focused on making features with each other. 

NATIVE: Tell us about your 2018 Coke Studio Africa experience?

LIONESS: This actually came at a time when I needed this push with the international recognition. I was very intentional with my music and meticulous with all of the details. It really built me up to understand how things worked outside Namibia, because I had no clue. Just seeing the levels of expectations internationally and seeing where I was, I could sort of now open my eyes and be open that I had a lot of work that I had to put in. 

It takes a lot of work especially when you are doing things right. I really appreciated it because I’ve learnt lessons that I’ll never ever forget. I didn’t think I could sing, then I started singing and it worked out really good so it was definitely one of the milestones in my career.

 

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NATIVE: Let’s talk about the new album, Wish You Were Here, what is the inspiration behind the project?

LIONESS: I realised that my followers and listeners really connected with me more when I was my most authentic self, especially my Namibian people. The first song I wrote was actually a love song, ‘Wish You Were Here’. Because at that time, I was in a relationship and I wanted to write about something everybody has experienced or wanted to experience. When you are sitting down with another woman and things are awkward, and your man is annoying you and she’s like girl tell me about it, it’s relatable.

I wanted the people listening to me to see me as a friend and somebody who experiences things as they do. I think that love is so broad because you can express yourself in so many ways. I wanted to show them a bit about my story and love was the main thing so I carried it through the whole album. I’m still in love, currently I am. I thought I was before until I met the person that I’m with now.

NATIVE: How different is this from your previous album ‘Pride of Cliq‘?

LIONESS: Pride of Cliq was a very amateur and sophomore album, and I was really in a confused state then cause I was like do I rap rap or do I sing rap. I was confused about my sound. I think it’s a good album to compare to, and also witness the growth that I have experienced as an artist. It wasn’t a terrible album but I have learned a lot about doing things properly. Albums are really expensive and I’ve learnt to really take my time with it from choosing producers to the mix and mastering. Before I was really fixated on doing things myself because I’m an independent artist so I thought that I am just going do it by myself. 

I really tried to do things right this time, and not rush it. Because the last one was rushed, I was like okay now I have this little bit of hype I need to put something out, it was a lot of pressure. But this album it took time, it took a lot of critiquing and taking a lot off and putting stuff in; it was very extensive and very intentional. With the previous album, I didn’t necessarily have a theme and it’s not because you always need to, but I think that albums tell a story and it needs to be a collective piece. It needs to have the WOW factor.

NATIVE: What was the selection process like for the features that made the cut?

LIONESS: The people that featured on the album, were just people that made so much sense to the beat and the feel. So I don’t really know how to explain it, but I really meticulously picked artists based on the vision I had of how I wanted the songs to be like. So it was a bit of intuition and also the chemistry I had with the person on the song – it really came naturally. I thought at the end that I didn’t have any women and was sad about that, but I thought at the end that that’s okay cause it’s also my experience of love. It just happened to be like that made sense.

NATIVE: On the album, you have a mix of singing and rapping on what inspired that?

LIONESS: During our emPAWA Africa masterclass, I had a lot of one-on-one sessions with Mr. Eazi; and he encouraged me to sing and explore how much further I could take my artistry. I really took that seriously and had an honest conversation with myself where I made the decision to unapologetically try new things. I’ve seen that it worked out and it made me realise that I have different talents which make me multi-faceted. Especially after I lost my mother, I went through a very big change in my life and I had to sit down and decide a lot of things and in that process, I really just matured and decided to live life to the fullest and not ever compromise. That masterclass really made me think about how I want to be as an artist and how much more I want to dig into myself. 

NATIVE: What advice do you have for young female rappers looking to make it in the industry?

LIONESS: I think women are at liberty to do what they want now, it’s not like 10 years ago where we weren’t really allowed in the room. People just want to see greatness and who is worth their money. If you understand where you want to go, I don’t think there’s anything that is going to hinder it and we all have a purpose in life and if it’s music, you just just have to run with it. It takes time, progression and consistency and for me, my biggest motto is consistency.

Keep proving yourself to yourself. Don’t care about other people’s opinions unless you find it to be constructive, cause a lot of time a lot of women are like “I think you need to be more this or that”.  I was told once that I need to be sexier and I was like “no I don’t, it’s you that thinks I need to be sexier”. My talent speaks for itself, ride it out and see how far it goes. 

Stream ‘Wish You Were Here’ below.

Featured image credits/Lioness

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

NATIVE Exclusive: Ghanaian rapper Ms Fu is rooting for every woman in the game

A guide to Davido’s DMW crew and his influence on Nigerian pop culture

Posted on by The Native

Today makes it 9 years since Davido dropped his breakout song, “Back When”, and since then, he’s remained a tour de force in Nigerian music. When he dropped “Back When” he caught some heat for claiming to be broke when he very clearly wasn’t, and following that, he decided to embrace his status as an OBO.

With his second song, “Dami Duro”, he stepped fully into his rich kid persona, and over the years has continued to live up to it.  Beyond the riches, he has also gained a reputation for his generosity, which has changed the lives of a lot of people from musicians such as Mayorkun, Peruzzi, Zlatan and others, to his right-hand men in his DMW crew.

In his dominant run since his break out, he’s built an empire, created a healthy ecosystem and placed some structure in the music industry.

Being from a wealthy home, however, doesn’t only mean living lavish for the afropop juggernaut. His family is known to be super religious and also for how generous they are in society – to the poor and to the church. Clearly, this teaching stuck with him, and he tells us a bit about this on the hook of his song, “Animashaun” which means ‘one who has should give’. He sings “Gboro Oluwa”, which means ‘heed to God’s word’, before he speaks about how far he’s come in all this time and has grown with all the people he came up with, building value for those he meets along the way.

Davido personifies the saying that we rise by lifting others, and after discovering Mayorkun and Dremo in 2016, Davido nurtured DMW into more than just a collective with a hefty roster of artists. His boastful lyrics on “If”, “30 Billion for the account oh” left a striking impression on Nigerians and thus, DMW evolved into the 30 Billion Gang, a sort of royal family in Nigerian pop culture. This ‘gang’ allowed Davido to absorb even the non-musically inclined people affiliated with him as members of the dynasty, and they all play useful roles to him and in the wider scope, the entertainment industry.

So as we look back at his prolific run in the industry since he broke out with “Back When”, we’ve decided to take a look at the people who have held it down with him, and how their affiliation to Davido has benefitted them and the entire crew:

Black Tycoone

Davido and the DMW/30 GB have a distinctly affluent look and BlackTycoone is the creative director in charge of a lot of the aesthetics and DMW/30 BG’s visual identity. He and Davido went to school together, and after coming to a confusing stage in his life, Davido took him in and gave him the room to hone in on his creative skills. Now, he’s in charge of all the aesthetics you see with the whole crew, from setting up the stage designs for DMW performance to mapping out what the members’ album and single covers look like.

Lati

Lati’s influence as the Davido’s personal assistant has made him an afropop legend of sorts, and you’ve definitely seen/heard the phrase “Call Lati” a few times. Nothing goes to Davido without going through him, and the pair have known echother since the were 10 years old. Lati used to work in Davido’s household after losing his parents and has now grown to become Davido’s trusted right-hand man.

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Happiness is free. #Goodfriday

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Aloma

Aloma is Davido’s unofficial personal assistant. He doesn’t have a defined role but is in charge of things such as confirming Davido’s bookings and also does a bit of A&R and talent scouting for DMW. Before he met Davido, he used to hawk second-hand clothes for a living, and his connection to the streets he grew up in allows him to keep his ear to the ground in finding young talent fresh off the streets, such as Lil Frosh. In 2019, his AMW (Aloma Music Worldwide) imprint was instrumental to Lil Frosh’s signing to DMW and he continues to help push the artist whilst finding others to follow suit. He has recently also made a pivot to artist, and has just released his first body of work, ‘Ikotun The EP’.

https://www.instagram.com/p/B_rqo61Dotw/

Father

You must be living under a rock if you haven’t heard about Father DMW in this lockdown period. A few weeks ago, he found his way into popular model, Eva Apio’s Instagram Live, and the pair continued to speak on Live every day for a while after. Their hilarious conversations became a reality tv show of sorts, which gained them both several more followers than they came into the lockdown with. In a recent interview, Father spoke about how he used to be an Okada driver, who ran errands for Davido and was given the chance to live his dream of being a comedian thanks to Davido. Now, Father is a household name in his own right who definitely has a lot going for him.

Obama

Davido’s road manager, Obama supervises the singer’s transportation, scheduling, and the financial aspects of his time on the road. He is also tasked with delivering press statements when show organisers breach their contracts with the artist in order to protect the singer’s image. Much like the rest of the crew, he gets to hang out with A-listers such as Lil’ Baby, Young Thug, Chris Brown and more. Obama has also started a record label, Obama Music Worldwide, and is currently championing a young artist, Ayanfe.

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A GOOD TIME!! ASABA WE HERE

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TJ

If you’ve ever seen Davido in real life, you know how hectic it gets for the singer when he’s swarmed by adoring fans, or a mob of people expecting a hand out from him. We owe his life to his muscle and bodyguard, TJ who ensures Davido is safe at all times and has sustained several injuries including a stabbing in doing so. TJ is now CEO of his own security outfit, Platinum Security and does concert and event security.

Featured Image Credits: YouTube/DMW HQ
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ICYMI: See the full-list of writers credited on Davido’s sophomore album, ‘A Good Time’

Songs of the Day: New music from Don Jazzy, Cassper Nyovest, Vector & more

Posted on by Dennis Ade Peter

Today, one could very easily argue that the Nigerian musical landscape is more liberated from the audience’s expectations than it’s ever been, and artists now have the room to re-imagine genres to fit their own personal expressions. This allows for an expansive range of new music from many different artists, which can become overwhelming, so we’ve decided to help out by sorting through new songs from across all the sub-genres around the continent to highlight all the new releases you absolutely Need to hear.

At the beginning of the week, we brought you new releases from Show Dem Camp, M.anifest, the Gorillaz-curated collaboration between Skepta and the late Tony Allen, and more. Today, we bring you a collaboration between Don Jazzy and Falz, Cassper Nyovest’s second single of this year, the lead single from a joint project between Vector and Masterkraft, and more. Dig in, and you’re welcome.

Don Jazzy x Falz – “Safe”

Don Jazzy’s evolution from mystical music producer to an icon with a jovial presence on social media has been interesting to watch. Two weeks ago, Don Jazzy shared a video of himself singing a coronavirus PSA, and fans immediately began to hound for the song’s official release. Now, he’s given people what they want with the new track, “Safe”, which is straightforward in its message, encouraging listeners to adhere to social distancing rules during these uncertain times, and also show love and support to family, friends and those around in whatever way possible. Falz also stops by for two verses, reinforcing Don Jazzy’s stance with his bracing raps.

Cassper Nyovest x Tweezy – “Amademoni”

In the years since his mainstream breakout, Cassper Nyovest has amassed a long list of achievements, and he makes sure to flaunt his acclaim every chance he gets. “Amademoni”, his second single of the year, finds the South African rapper in boastful form over a whirring drill beat—he notably namechecks Pop Smoke at the beginning of the song. Assisted by Tweezy, who delivers the catchy chorus, Cassper reiterates his status as a top dog in African rap music, backing it up with a music video loaded with snapshots of sold-out concerts and meetings with international superstars like J. Cole.

King Perryy – “Jigga”

Since capturing mainstream attention with the Timaya-assisted hit song, “Man on Duty”, King Perryy has remained active via a consistent run of singles and features. While the singer is currently prepping his debut project, tentatively titled ‘Citizen of the World’, he dropped a new single, “Jigga”, to celebrate his birthday a few days ago. Backed by a groovy beat which combines elements from Igbo folk and dancehall, King Perryy dedicates the club-ready anthem to friends and his supporters, imploring those who aren’t in this sect to “dey one side”.

TÖME x Wavy the Creator – “Magical Fruits”

Canada-based singer TÖME is currently gearing up to release her sophomore album, ‘Bigger than 4 Walls’, later this month, and she’s already giving us a peek into what to expect. A few days ago, she shared the vibrant “Free” as the lead single, and she’s now followed up with a second single, “Magical Fruits” featuring Wavy the Creator. TÖME and Wavy make a great musical pairing, conjuring images of a baecation on a tropical island, as their sensual vocals glide over the airy piano strings and lightly swinging drums.

Vector x Masterkraft – “If We Must (Sun x Rain)”

Less than six months after dropping ‘Vibes before Teslim’, Vector is preparing to drop ‘Crossroads’, a new joint EP with ace Afropop producer, Masterkraft. While the 5-track project will be released later this month, the pair have shared “If We Must (Sun x Rain)” as the lead single. Solely backed by angelic vocal samples and minimalist piano chords, Vector goes into stream of consciousness mode, rapping thoughtfully about the current pandemic, conspiracy theories and the divide between the haves and have-nots. “If We Must” hones in on the socially aware side Vector has always shown on social media and in interviews.

FSB – “High Enough”

In between their hedonistic intentions and savage-heavy lyrics, trap artists are quite adept at sneaking in personal stories and truths in a way that’s catchy and affecting. FSB’s “High Enough”, one of the standouts from his newly released debut project, ‘First Impression’, follows this M.O. “My ex say I need help, can’t look at my shelf”, FSB admits, immediately following up by bragging about the amount of Supreme gear he owns. Supported by a floating piano loop and reverbed 808 bass, he balances introspection and materialism, admitting the wrongs in his past relationship but also deferring to his growing wealth as something of a crotch.

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ICYMI: LISTEN TO NEW MUSIC FROM GORILLAZ X SKEPTA X TONY ALLEN, M.ANIFEST, SHOWDEMCAMP AND MORE

Akin Omotosho’s ‘Vaya’ will be available to watch on Netflix Party tonight

Posted on by The Native

In 2018, news broke that Netflix had acquired Akin Omotosho’s ‘Vaya’, and we’ve been waiting patiently for it since. The film which premiered at Toronto International Film Festival (TIFF) back in 2016 gained a lot of critical praise and earned him the Africa Movie Academy Award for Best Director before being acquired by Ava DuVernay’s Array. Now, in these bleak times, we finally get to watch the film, as it will be available to watch on Netflix later on today!

VAYA takes viewers along on a journey of three young South Africans who travel away from their rural homes on a train bound for Johannesburg. Full of suspense and based on real accounts, the intertwining stories of these naive strangers as they struggle to survive, culminates in an explosive moment.

Now after being certified 100% Fresh on Rotten Tomatoes, VAYA will finally be available on Netflix party later today at 9PM, using their recently launched app, Netflix Party. We’re super excited and can’t wait to see how the events unfold.

Watch the trailer here:

Listen to Little Simz poetic new project, ‘Drop 6’

Posted on by Tami Makinde

Last year alone, Little Simz dropped her indelible project, ‘GREYAREA’ and delivered a stunning must-watch performance in the latest season of Top Boy. The British-Nigerian rapper has been heavy on our radar since, and to start the year, she’s just dropped her 6th project ‘Drop 6’

The 5-track project is the perfect example of this time allowing artists express themselves through their music, as it’s made up of diverse tracks written and recorded by Little Simz herself last month whilst she was in isolation. Each track continues to showcase her signature poetic storytelling flow, as she weaves through themes of self-worth, family, independence, defeat, love, and the pursuit of happiness in life.

 

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The EP starts off with “Might Bang, Might Not” a fun upbeat track where she spits bars, packing an onslaught of clever wordplay into two minutes. ‘If I give you my time, and give you my space/Know that that shit’s not to waste’ she begins, rapping about how she’s back on her bullshit and ready to bring the heat this year. She admonishes everyone who never saw her strength and power, calling herself a one-woman army who is ready to take on her opps.

This idea of standing alone in the face of adversity carries on to the next track, “One Life, Might Live”, where speaks about past relationships. ‘Everyone single of them I’ve dated all the same/Everyone’s that wronged me put their bodies to the side’ she raps in a deadpan poetic drawl, over the vivid percussion pattern. Little Simz has always spoken openly about her love life in her music, so this comes as no surprise from the British MC. It’s clear she’s having fun on the beat, as she later switches into a sing-song flow, teasing the ill-intentioned people to try her one more time. You already know about how much I love to see women talking their shit!

 

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Before the new EP dropped, Little Simz shared a heartfelt post her social media about the self-doubt she felt whilst working on her project:

“After serious procrastination, I decided to stop being a ‘lil b*tch and cry baby and knuckle down on the EP. I gassed myself up, there’s no one else here, I’m alone, I had to”.

Self-doubt is a topic she often confronts throughout the 5-track EP, especially on the closing track “Where’s My Lighter” where she recruits the talented songstress, Alewya. The two women confront the gut-wrenching feeling of being lost, and not knowing who to trust. ‘Who do I trust? Who do I love?/Tryna seek sense, be the real me’ she muses, as the floor opens for Alewya’s delectably infectious vocals. The pair bring a magnetic energy to the closing track and prove once again that Little Simz is one of the rappers we want to keep paying attention to.

It’s very important to have women like her, especially in the rap scene, where women don’t really hear themselves represented outside of what men have to say about them. She continuously sets herself apart as one who is fiercely independent and always ready to speak her truth. Little Simz touching on topics we can all relate to as women is very important, and we definitely want to hear more from her.

Listen to ‘Drop 6’ below.

Featured image credits/Instagram:littlesimz

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ICYMI: Shaybo is the self-proclaimed ‘Queen of the South’ with hard-hitting bars

7 young Nigerians tell us how they’re coping with Ramadan during lockdown

Posted on by Tami Makinde

Many people have said that the pandemic is God’s way of telling us to slow down, and it doesn’t seem like a coincidence that all of this happened during holy periods for both Christians and Muslims. Lockdown started in the middle of lent, and in just the space of a few weeks, we’ve gone from reflecting about the seriousness of the imposed lockdowns on social media to watching in horror as the eased lockdown in Lagos has lead to a clamour of people at public spaces like the bank.

Amidst all the confusion and discomfort, Muslims around the world are also adjusting to the holy month of Ramadan, whilst also practising social distancing. The Holy month is primarily about self-reflection, prayer, and gratitude. Here in Nigeria, we have the highest Muslim population than any other country in West Africa, with roughly 50% of the total population currently undergoing the annual Ramadan prayers and fasting.

Ramadan started on April 23rd is nearing its two-week mark, and to show support for our Muslim family and friends, we reached out to young Muslims who are quarantining all over the world to find out how they are coping with Ramadan during lockdown.

From those who are currently excited because fasting is easier for them with no movement, to those who have found the time to slow down and actually connect to their faith and to God, it’s clear that this is a special Ramadan for everyone. Here’s what the young Muslims we spoke to had to say:

Quarantine has made this Ramadan so much easier for me. Usually I’m always on the go and hella active which makes the days go quicker but it gets really tiring. Now I’m just relaxing all the time but that has messed up my sleeping pattern. I also really love how I’m praying on time all the time, it’s really beautiful and makes me happy, connecting with Allah

O, 25, F.

This is probably the easiest fasting I have ever had! Maybe it’s because I’m surrounded exclusively by people who are also not eating or because it ends pretty early in the day (7pm). It might also be because I’m not burning as many calories since I’m in bed 2-4. Sha whatever the reason, it’s a breezeeee.

A, 26, F.

Honestly, Ramadan during this time has been interesting as lockdown disrupts what Ramadan is all about – connection and being together. However, it’s allowed me to really reflect about those less fortunate and be grateful for what I have. Especially in Nigeria where so many people are suffering even more because of COVID19. There are things I’m really missing though, one of the best parts about Ramadan is Iftar, breaking your fast with your family at the end of the day.

L, 25, F.

It’s actually much easier with the lockdown as there’s less temptations and distractions. However, all these late nights have me waking up really late and I end up sleeping during Fajr. I’m sorry loool.

B, 27, M.

It’s actually pretty chill this time around. The only annoying thing is not being able to take my hay fever pills so early in the morning. But honestly besides that, it’s been easier and it’s not like I’m active and going out so I’m good.

S, 24, M.

Even though the lockdown isn’t a good thing in terms of how it’s affecting all of us, and sepearting the sense of community we usually share during this period, it’s really been easier in terms of fasting for me this year.

T, 22, F.

It’s been pretty chill for me. I’ve always had a hard time with my faith, but being home with my family during this period is really good for me. I’m pretty much having a hot girl Ramadan, I’ll leave that to your imagination.

L, 21, F.

Featured image credits/Nylon

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ICYMI: Conversations with young Nigerians about faith and God

The Shuffle: Revisiting Burna’s Boy & Wizkid’s experimental collab, “Single”

Posted on by Tami Makinde

In 2015, Burna Boy released his sophomore album ‘On A Spaceship’ which marked the emergence of his own label, Spaceship Records. The 20-track project which housed party starters like “Soke” and “Rizzla” has been greatly underrated and flew under the radar at the time owing to its experimental nature, and was full of pop sounds which didn’t exactly deliver the usual Burna charm listeners were used to at the time.

There’s no denying that the album was a bit harshly judged at the time, owing to the bad rap the now-African Giant got at the time. When you think about their current dominant run on the global stage, it’s easy to forget that artists like Burna Boy, Davido and Wizkid have been making us dance for nearly 10 years. Given this, we decided to go way back into the catalogues, and came across Burna’s Wizkid-assisted track  “Single”, which we think would still slap if released today.

 

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Burna Boy has always been a self-assured artist, who hasn’t needed any outside validation, and it’s this determination to do what he wants, whenever he wants what endeared us to him in the first place. He and Wizkid have been known to deliver hits throughout their solo careers, and as a pairing, they show great synergy by feeding off each other’s strengths. This was seen in their first collaboration,  “Jahs Love is True” where they speak about the age-old tale of the struggling artist from a modest background who defies all odds and comes out on top, which looking back, seems like a positive confession of sorts.

The pair then joined forces again for “Single”, a genre-bending track which definitely took it’s time to warm into our hearts and ears. The song starts off with scanting percussions that are almost too faint to hear before Burna Boy’s patois-filled verse comes into focus. The dancehall-inspired track is a frenzy of bass, hi-hat-heavy beats, over a pop-tinged production impossible to label as one genre. This wasn’t a feat any artist really tried out in that time of its release, and Burna Boy’s experimental delivery to accompany the beat is also particularly admirable.

‘Girl come ova me yard/single yeah make I knack you jingle bell’ both artists sing over the song’s hook, addressing a subject matter which they’ve both become well versed in over the course of their careers – the admiration of women. Wizkid joins Burna Boy on the third verse, and it is clear Starboy was just having fun and catching a vibe on the song, which is Wizkid in his top form. He jokes about wearing more than three ‘rubbers’ at a time while in the act, which is particularly humourous knowing what we know now.

“Single” was released before both artists had their global breakouts, and now conversations around the dominance of the afropop genre cannot be held without either of their names coming up, and they have undoubtedly inspired a new generation of hitmakers. If anything, “Single” reinforces that Burna Boy and Wizkid are a delectable pairing which we need more of today. Until that ever happens, we’ll hold tight with what we have.

Revisit Burna Boy’s “Single” featuring Wizkid below.

Featured image credits/TheNetNg

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ICYMI: Burna Boy features Wizkid on “Jah’s Love is True”

Essentials: ‘Lava Feels’ is Joey B’s assertion of his creative freedom

Posted on by Dennis Ade Peter

Joey B fancies himself something of a rap savant. Across a sprawling discography made up of several singles, overflowing guest features and his debut project, ‘DARRYL’, the Ghanaian rapper has built up a grand artistic persona, hinged by his range and adaptability. The rapper is as adept at making chest-knocking rap cuts, as he is comfortable spinning light summery hops, and no matter the sound or collaborators, Joey B always finds a way to fit in.

On his latest release, ‘Lava Feels’, Joey continues his act of shuffling through whatever sound he feels like. In nine tracks, he completely forgoes any attempt at cohesion, using his curiosity as the project’s sole anchor while the music continuously shifts gears. When he announced the project, Joey described ‘Lava Feels’ as “just a collection of songs”, effectively adjusting the expectations for what would’ve been deemed as an official sophomore project.

In a time where one of the biggest artists in the world has successfully floated albums as mixtapes, a playlist project, an official compilation of loose singles, and very recently, a tape of leaks and demos, ‘Lava Feels’ is right at home in a liberal era where artists can describe their music as whatever they want and pretty much get away with it. To its credit, the collection maximises its low stakes billing. For the most part, it sounds like the work of an artist who knows he’s pulling a fast one, but it’s difficult to call him out on it since the songs here are high-functioning and well-executed.

‘Lava Feels’ is Joey’s assertion of his right to creative freedom. He’s never been one to be pigeonholed, but in presenting himself as an artist with several interests and his own unique agenda, the collection is radical and refreshing. “Read in between the lines, I’m a different type of guy”, he sings on the titular  track, contorting his melodies into infectious passages that melt into the psychedelic strings and reverse piano samples. “Lava Feels” charts a new sonic terrain for Joey, but it’s a great showcase of his powers as a songwriter, an ability that serves as a potent through-line even when the tape threatens to unhinge.

Joey has always been a big picture guy when it comes to making music, taking cognizance of the ideal that every facet of a song, from its verses to the hook, plays an important role in keeping the listener’s attention. On the cutthroat banger, “Silicon Valley”, Joey exudes a casual irritation with a past lover on his verses, delegating the spitefulness to Bossom P-Yung, who switches between rattled couplets and helium chants on the song’s instantly memorable hook.

In all its carefreeness, the collection does a great job of lending Joey B a personable layer. On “Far Away”, Joey reminisces about the days of lean purses and constant prayers to make it big, radiating a joy in his present situation that’s unspoken but palpable nonetheless. He’s joined by M3nsa, who emphatically states his priorities as a man and a father on the song’s dazzling second verse. In addition to its affecting content, the soulful west coast bounce of “Far Away” is a sonic delight, evoking the feeling of riding top down on a road bracketed by tall palm trees, and with the sun beaming down.

While Joey’s music selection is a vehicle for emphasising his range, ‘Lava Feels’ also ropes in its multiple guests with the soundscape that best fits their voices. The ode to hustlers,  “Hard Knocks” is carried along by a ‘90s rap and r&b-hybrid instrumental, acting as the perfect backdrop for Ko-Jo Cue, the Ghanaian rapper who does a lot of his best work with music that emboldens self-reflection. Odunsi (the Engine) and Santi bring their vibrant cool to the synthy ambience of “Over You”, while Joey plays the mellow foil to Stonebwoy’s animated verve on the dancehall meets Spanish guitar revelry on “Affection”.

If ‘Lava Feels’ was billed as a full-length project, it would probably represent an apotheosis of sorts—an elevation to a higher creative level, if you will. Semantics aside, the collection is a fully realised body of work, which definitely exceeds expectations. Even after recalibrating, the project’s blistering quality doesn’t wane, making the perfect case for Joey B’s delightfully arrogant and nonchalant way of showing that he’s been this level for a while.

Listen to ‘Lava Feels’ here.

Featured Image Credits: Instagram/1realjoeyb

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ICYMI: LISTEN TO NEW PROJECTS FROM DRB LASIGIDI, MAISON2500, NORTHBOI, TERRI & MORE

Op Ed: Tekno is actually the voice of our generation

Posted on by The Native

Words by: Wale Oloworekende

If you come from where I came from – a place with unpaved streets, houses tightly packed against one another, murky drainages containing things you don’t want to know about, all navigated with wide-eyed enthusiasm and barely developed smarts — you dream a lot. You dream about taking your family out of there, being great one way or the other, and having the luxurious life you see on televisions.  You also played football – on the first days of the holidays; immediately you got home from school at 3 or 4 p.m. depending on if you went to a public or private school; you played especially when your mum warned you not to, and you played on even when you hurt your toes playing on the most uncomfortably stony fields.

Later on in life during the holidays, we never missed the early music shows; during school time, we watched what we could and hoped for repeats. There were football breaks at well-defined times which allowed us to watch the shows we loved the most. Galaxy TV at 11 A.M; We almost always missed Lunch Splash on T.V.C. because there was usually no light at that time. Superscreen at 5 P.M; And M.I.T.V at 8 P.M. With dirty feet and sweaty bodies, we sat on couches and settees anyway, because we just couldn’t miss the music at the turn of the decade. All our truths and realities held our gaze as it played directly through the coloured pictures on our screens. If we stretched our hands out, we could grasp these delights on TV – live the life. Boys like me heard ourselves – Gbagada, Bariga, Oworo, Mushin – in Dagrin, Olamide, 9ice, and DJ Zeez. So, we fine-tuned our strategies for getting out. If football didn’t work, music could, and one of the two had to. At-all-at-all-na-im-bad-pass.

I don’t remember the first time I heard the phrase, ‘conscious music’, but for the longest time, there was something about it that made me think of it as purely an idyllic concept. Idyllic was grand when all we wanted, was representation. Where I was raised, the most important thing was also seemingly the simplest thing: to be seen, understood and identified – we didn’t ask for too much. There was also the tiny matter of the music we heard lifting us out of the seemingly mundane life we lived, the lack we breathed. Yet, for every chorus – or every bar – I remember being dished out about girls, butts, and the street culture, there was more to it. Our identity was fused into the words we spoke in an inescapable manner about the economic odds stacked against us. In the most colourful language, we registered our grievances against the government that fostered this divide, cursing and singing, fuck the government.

As we grew older, and understanding broadened, I began to get the point of conscious music. I started to dig that to be conscious is to just speak your truth as closely as it aligns with your identity and with the regularity that it occurs to you.

 

When I listen to Tekno, I can’t shake the feeling that he played football when his mother told him not to and that he concocted an escape to a better life through his music because it seemed like the dream that was more within grasp. By listening to Tekno, I don’t mean the disyllabic-titled songs like “Pana,” “Diana,” or “Agege” where he sings about love and romance with reckless abandon over syncopated beats. I drown in those when I imagine what it means to be in a spicy love that does not require lots of words – just some cassava.

By listening to Tekno, I mean songs like last year’s “Better (Hope for Africa)” and last Friday’s “Sudden” where he sees and understands of the plight of the people who are several classes below him. By listening to Tekno, I mean plugging into the artist who leans over the divide and inserts himself, fleetingly, in the reality of the average Nigerian, yet still crucially, accepts the liminality of his position however powerful his voice is.

To be a conscious Nigerian musician in 2020, is to open your Pandora box of opinions about pretty much anything that occurs in the public sphere. But commentary is specially reserved for the core politicking and top-level mismanagement and corruption that is so endemic to the country. To keep that position, all you have to do is maintain an audible public persona and, hopefully, curate a connection to the mythical Fela Anikulapo-Kuti – that always helps. There’s also a place for the conscious musician to brusquely insult the average Nigerian for not standing up to their ‘oppressors’ – we’re tired and jaded, read the room – and when that doesn’t work, it seems that it’s okay to maintain a chilly distance and let Nigerians to their doom… or whatever.

When I listen to Tekno get conscious, there is none of the superiority of ideals or stance that characterises traditional Nigerian conscious music. When I say that he’s the greatest conscious musician of our generation I don’t come to that conclusion lightly. I understand that he doesn’t have the all-knowing grasp of politics which protest musicians before him had, or even the repressed miffiness of African China – perhaps not even the refined grasp of the polity that his peers possess, however, Tekno is a human champion unlike any other currently operating at this time.

His music so poignantly captures the human angle of the Nigerian condition, while putting the blame where the people would put it as well: the government. Not once listening to Tekno, have I seen him take an anti-people stance to being woke. Conscious music in Nigeria has loads of that already, so it’s no good blaming us for leaders who choose to shit on their people. There are two types of Nigerian conscious songs: the ones that try to teach but can’t afford to not still put a groove or two into it, leading to the message being drowned out when nubile bodies press against each other at invite-only house parties on the Island; then there is the other sort, made for intense internal monologues about the direction of the motherland and the grave dangers closing in around us.

Tekno’s “Sudden” is the latter, anguishing in execution, made for the people, by the someone who gets people. The fact that it probably won’t chart high is proof that it has done what it is supposed to do. It’s not a song for club revelry (who wants to party in these dreary times?), nor was it made for blaring while hurtling down empty highways. It will play when you want to cry and hear a fellow Nigerian soundtrack your anger. “Dey go do like dem no see say food e no dey oo / Dey go do like dem no see say road e no good oo (just tell me why)/ Dey go do like dem no see say people dey suffer,” Tekno sings on “Better (Hope for Africa).” I’ve barely heard more truthfully uncomplicated lyrics in the last few years. Rich and poor, we ply the same roads; rich and poor, like the Coronavirus has shown us, we are all vulnerable, however, the poor are always the most unprotected, dealt with the short end of the stick and Tekno telling us this has always reminded me someway of the lyrics we concocted while plotting our getaway from calamity in my childhood. Calming truthfulness.

A few months ago, I read a comment on Twitter about current Nigerian musicians not being able to contribute to the intellectual debates of their times like Fela could have during his days. There is a biting truthfulness to this, as much as there is an elephant unavoidably present in the room which has to be acknowledged for any conversation about scholarliness to progress, for many reasons. Because in his days, Fela was exposed to the best education that could possibly be got. Even then, fresh from independence, the thoughts of young Nigerian men and women were not so overwhelmingly focused on where the next meal was coming from. Because when I walk on the streets, hurrying to beat the curfew, I hope that no policeman shoots me down and swears in a court of law that it was an accidental discharge or that I attacked a man of the law meriting the bullet. Because the boys I grew up with probably write ‘Am’ when they mean ‘I’m.’ Existent realities demand corresponding efforts and nobody has time to be an intellectual when their family is at risk or in the line of fire. In this mess, I am grateful for my little blessings and in whatever manner they attempt to confront the problems we face.

We live in a post-post everything society and it’s a constant struggle to remember all the ills we’re confronting, often at the same damn time. These are perilous times, and music is a weapon. Music is the weapon for our collective remembrance; for our communal mourning of the potential that comes to die in Nigeria if you don’t make it out of the ghetto in time; the light in your eyes that dims if you don’t keep your head held high and believe that the sun will shine on the next day – the nights are that dark.

If you work harder, you’ll make it out. Lies. Just ask Tekno, he knows. “If na by hard work poor man go get money,” he casually points out on “Sudden.” Money is an especial matter and when Tekno drearily adds that “40 billion is a nothing for them” we know whom he is referring to even if he won’t name names or cast aspersions. We are seething, and I’m nodding vigorously, in agreement because I recognise the little details of our collective pain, and resignation in this griot’s voice.

When Tekno releases his next song, probably a disyllabic-titled club banger, I understand him. To be the voice of society can be choking, sometimes it is better to dance.

ICYMI: Music is the perfect medicine for cabin fever

Featured image credits/Tekno

ICYMI: Music is the perfect medicine for our cabin fever

Remembering Tony Allen, a bonafide African music hero

Posted on by Dennis Ade Peter

In 1971, Fela Kuti & The Africa ’70 toured and made a live album with the late Ginger Baker. At the time, Africa ’70 already had a resident drummer in Tony Allen, however, the brief entrance of another drummer—albeit a celebrated and widely acclaimed one – gave them validation as well as a proposition of the sound and ideal of the then newly patented genre, Afrobeat. The LP is a time capsule of combination and collision, between a band finding its feet and a musician who was already regarded as a force of nature.

‘Live with Ginger Baker’ came about at a time when Fela’s madcap experiment – with influences from Jazz, Highlife, Funk and Afro-Cuban rhythms – was still being developed, and although the compositions were bold and sometimes colourful, the band’s sound had yet to fully shed its big band jazz leanings for its full-on Afrobeat flavour. The interlocking groove of rhythm guitar, tenor guitar and bass guitar which played a pivotal role in defining the Afrobeat sound had not yet been invented, the horns didn’t have the level of brassiness in future recordings, and vocal call-and-response chants weren’t here yet.

At this point, though, Tony Allen’s drumming was the band’s most refined element, which wasn’t even remotely Allen at his best—compared to his subsequent work. His metronomic sense of timing and dazzling fluidity was already made apparent, and while many like to cite the final track—his drum duet with Ginger Baker—as a major display,  “Yeye de Smell,” off that same album, shows this quite definitively. While both drummers are present on the song, Allen stood out with his interplay which juxtaposed Baker’s energy with tact. Simply put, Baker was the thunder while Allen was the lightening.

By the following year, Fela & Africa ’70 had become full-bodied and much more distinct. The band released ‘Shakara’, the album which was widely regarded by musicologists as the first true Afrobeat record, and Tony Allen quickly solidified his inimitable role. In a band with multiple moving parts, Allen controlled songs from the outside, by being a master of tempo and made sure there were no clogs or unhinged cogs in the constantly spinning wheel. At various points, any instrument(s)—including Fela’s voice—could be the focal point, however, Allen, especially in his partnership with percussionist Henry “Perdido” Koffi, was the driver.

Bonafide Afrobeat classic, “Gentleman”, is a prime example of this dynamic. The song is mainly revered for the phenomenal horn solo in the beginning and Fela’s sharp denunciation of European gentlemanly standards, however, there’s an evocative quality to Allen’s work. The slow-moving and sublime drumming provides the perfect amount of space for Fela’s aggression to properly boil, cackling just behind the lead singer’s oscillation between mockery and sneering, which perfectly exemplified Tony Allen’s superpower: making everyone around him sound better.

For him, showing out was never the point; it was about playing in service of making music that entrances listeners. “I know I can make my drums bring the house down if I have to, but I know how to make it subtle. You listen to it flow like a river”, he once explained in an interview with The Guardian. Although he played in steady cycles, Allen was a full-bodied drummer who worked his flexible limbs with masterful control. He was effortlessly vivid, creating the illusion that listeners, through their earphones, were behind his drum kit and could do what he was doing.

That level of skill was due, in part, to absorbing influences and years of practice. Allen was a self-confessed acolyte of Jazz legends such as Art Blakey, Max Roach and Philly Joe Jones, and he credited them for nurturing his understanding of the extensive use of hi-hats since the drummers at home mostly kept them “close.” He also noted that practising on pillows, on inspiration from Jazz drummer Frank Butler, helped his flexibility. Relying on his innovative, keen-eyed approach to drumming, all of that came together to make a unique and seminal style, which subsequently became the Afrobeat trademark.

After about fifteen years of working with Fela—he was also a member of the mid to late ‘60s Highlife-Jazz band, Koola Lobitos—Tony Allen exited his role as drummer and musical director of Africa ‘70 in 1979, and he briefly returned in 1980 for ‘Music of Many Colours’, Fela’s joint album with the American soul artist Roy Ayers. In the years after his departure, Allen worked with several other African artists, including King Sunny Ade, and he also released his own albums; ‘No Accommodation in Lagos, No Discrimination’, on which he was backed by Africa ’70, and ‘Nepa (Never Expect Power Always)’, the first of several projects with the collective he formed, The Afro Messengers.

Continuing in the lineage of his previous works, Tony Allen’s music was socially inclined, sans the militant edge of Fela. Addressing the state’s infamous traffic jams and the exorbitant cost of housing, “No Accommodation” speaks to a Lagos reality that remains prevalent, while “Nepa” mocks Nigeria’s shoddy power supply, an issue that has remained unchanged even with several name changes to the country’s power generation body.

While he never stopped speaking truth to power, a significant part of the narrative of his latter days was his constant experimentation. By the ‘90s, Allen was incorporating elements from a wide palette of genres, infusing their texture in daring but well-measured ways. “The Same Blood”, a standout from ‘Black Voices’ in 1999 shrewdly reworks the anti-racism song, “No Discrimination”, adding electronica elements while deconstructing the original composition.

Regardless of the sonic terrain he veered into, Tony Allen always made sure to emphasise that he was an Afrobeat drummer, and it constantly showed in the music. He played drums on the title track of French singer, Charlie Gainsbourg’s 2007 album, ‘5:55’, imbuing the sophsti-pop song with a languid torque and his trademark flexibility, in a way that sounded fresh and distinctly familiar. That appearance was also emblematic of his resurgence to prominence in the 2000s.

On “Music is my Radar”, their 1999 hit single by English rock band, Blur, frontman Damon Albarn repeated sang Tony Allen’s praises, leading to an international profile boost for the drummer, and it also laid the foundation for extensive collaboration between the two. After appearing on “Every Season”, off Allen’s 2002 album, ‘Homecooking’, Albarn invited the drummer onto two band projects.

The first was alternative rock super-group, the Good, the Bad & the Queen, which released two albums—a 2007 self-titled debut, and ‘Merrie Land’ in 2018—and included Paul Simonon (Clash) and Simon Tong (the Verve). The second was Rocket Juice & the Moon, an experimental funk band that included Flea of Red Hot Chilli Peppers, and released a 2012 self-titled album with multiple guest appearances that ranged from Erykah Badu and M.anifest.

While some of his experimental work also involved collaborations with Techno pioneers, Jeff Mills and Moritz Von Oswald trio, Tony Allen’s solo work in the past decade became a full circle act of sorts. Between 2014 and 2017 when he released ‘Film of Life’ and ‘The Source’, Allen’s music was a thoughtful and largely well-executed attempt at uniting Afrobeat and Jazz, using his mastery of the former to reinterpret the latter. In what was undoubtedly a personal achievement, Allen was able to record and release ‘A  Tribute to Art Blakey & the Messengers’, a short project which subtly reimagined several compositions written and performed by one of his idols, including the hard-bop classic, “A Night in Tunisia”.

Earlier this year, in ‘Rejoice’, we finally got Tony Allen’s joint project with South African Jazz luminary, Hugh Masekela, which was recorded in the UK back in 2010. The album is a product of respect between two consummate musicians, and it also celebrates the innovative spirit of African music. Listening to ‘Rejoice’ after the news of Tony Allen’s passing last Thursday, it feels like a ray of heavenly light in these days when anxiety and paranoia are constantly hovering around. Between Masekela’s beaming horn solos and his weathered voice, and Allen’s pattering polyrhythms, ‘Rejoice’ is a calming and invigorating dose of optimism from two African music legends who always sought to bring light through their music.

In comparison to Masekela and other revered legends like Fela and Manu Dibango, Tony Allen didn’t have a singular supernova moment like his colleagues, however, his influence was just as clear. Across his sprawling catalogue, he personified the type of greatness that spoke for itself in the music, greatly and positively altering African music in a way that reverberated all over the music world. Tony Allen is a bonafide African music hero who also managed to become one of the greatest to ever sit behind a drum kit. May his myth never be diminished or forgotten.

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

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Angelique Kidjo reworks Miriam Makeba’s “Pata Pata” for Covid-19 Awareness

Posted on by Tami Makinde

The world is facing the deadly scourge of the coronavirus, and while we wait for world governments to make a vaccine available, and do our part by staying indoors, music is proving to be an indisputable connecting factor bringing hope and joy to millions around the globe. In the efforts to continue this feat, Angélique Kidjo, in collaboration with the United Nations body, has reworked Miriam Makeba’s “Pata Pata”, in order to raise awareness around the coronavirus outbreak.

Without any alteration to chords or syllables of the original song, the newly reworked “Pata Pata” now has several changes to the lyrics to suit the theme of awareness, and to spread information and hope in a time of Coronavirus. ‘This is the time to sit it out/stay at home and wait it out/keep your distance please’ sings Angelique Kidjo, in what appears to be a homemade video directed right from the artist’s home.

UNICEF is also encouraging the public to submit videos of themselves dancing to “Pata-Pata” by tagging @1unicefafrica on TikTok or @unicefafrica on Instagram with #nopatapata and #healthyathome. The best dance clips will be included in a music video to be released in mid-May.

Speaking on the reworked song, Kidjo told UNICEF that:

“Miriam inspired me. And Pata Pata gave me hope. We all know what needs to be done, but we also know how much communities are suffering. “Pata Pata” has always been there for people at a time of struggle. I hope it helps once more. And I hope from our confined spaces we can dance once more.”

Watch the video for “Pata Pata” below.

Featured image credits

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

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