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.
“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
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
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
‘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.
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.
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_
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’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.
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.
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.
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.
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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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
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.
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.
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!
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
Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_
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.
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 Giantgot 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.
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.
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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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
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
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
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.”
If the No Signal #NS10vs10 catalogue clash over the weekend showed us anything, it was that Wizkid’s star power is undeniable. Not that we ever doubted, but Wizkid has had the game in a chokehold for the past decade since he broke out in 2010 with “Holla At Your Boy”. Since then, his growth is almost palpable from the quality of his music to the heights he has reached since.
He has scored features with several A list musicians from Beyoncé to Drake and Future, whilst also championing and ushering in the next wave of hitmakers from Terri to his rumoured verse on the remix for Santi’s “Freaky” which we’ve heard will never see the light of day. Since he gained more popularity outside of the country in the latter part of last decade, with newer releases like ‘Sounds From The Other Sides’, “Come Closer” and “Soco”, it’s easy for newer fans to have missed his older work which endeared us to him in the first place.
Wizkid actually has one of the most impressive catalogues from any Nigerian artist with three studio albums, one compilation album, and over fifty singles currently in the bag. Since there’s so much material, some of them have slipped under the radar of the more popular hits, and so we’ve decided to bring to you 10 Wizkid tracks you may have forgotten about. So while we wait (not so) patiently for Wizkid’s next project, here are some songs to hold you:
“Sisi Nene”
Wizkid’s earliest releases under EME Records were full of party starters and crowd-pleasers, including this loose 2012 release “Sisi Nene”. Produced by Jay Sleek, who he frequently collaborated with back then, a young Wizkid celebrates his love interest who he only has eyes for. He sings praises to her and asks for her to whine pon him, something many of us who are revisiting this song can recall from our adolescent parties where we used to grind against the walls.
“For Me” featuring Wande Coal
Any DJ worth his salt would play this song in the club if he wants to get a rousing reaction from the party-goers. Off Wizkid’s debut album, “For Me” was one of the best collaborations we had in the last decade and we’re surprised the song was never made a single. Regardless, it made its way into everyone’s hearts and was one of the tracks which cemented Wizkid as the G.O.A.T, alongside Wande Coal who had already made his stamp.
Wizkid and Wande Coal showed incredible synergy, against a catchy and energetic beat singing mostly in Yoruba about the effect a lover has on them. Whether you understand what they’re saying or not, you can appreciate the fantastic sonic quality.
“Shout Out”
Everyone has seen the viral video of a young Wizkid performing “Shout Out” as a raw, emotional freestyle on the streets of ‘Lere back in the days when he was fast becoming a local champion. When his debut album ‘Superstar’ came in 2011, Wizkid included the famous freestyle into his project, only more refined and more suited match the other hits on the album such as “Don’t Dull” and “Scatter the Floor”.
On “Shout Out”, Wizkid speaks about his rise as an artist, giving a shout out to all his friends and chosen family who have bolstered him up to star status. The chantable hook where he sang “God go make you bigger” to each person he gave a shout out became a staple #thatyear, and will still slap when we hear it today.
“Murder” ft Wale
In 2014, Wizkid released his second studio album ‘Ayo’ and while “Ojuelegba” won the hearts of fans and listeners everywhere, there were several deep cuts which slipped under the radar, such as the Maleek Berry-produced, Wale-assisted “Murder”. The upbeat track sees Wizkid singing entrancingly about a lover, whose looks “are killing [him] murder”.
In his usual slick and sensual manner, Wizkid is on top form navigating between the catchy hook and the two verses before Wale joins him to drop some Yoruba bars, which was super exciting at the time the song dropped. Following this, Wizkid and Wale went on to collaborating again on the fantastic “My Love” alongside Major Lazer and Dua Lipa.
“One Question” featuring Yemi Sax
Over the course of his career, people have accused Wizkid of switching up, however one thing which has remained consistent is his dedication to releasing love songs. Released as a single on Valentine’s Day before his sophomore album dropped, “One Question” was clearly angled for the lovers and he did a great job mixing his party-starting ability with an amorous number on this track. Enlisting Yemi Sax to give the song a more romantic feel with the blaring saxophone, this is one of the best Wizkid songs in the catalogue.
“Wine to the Top” – Vybz Kartel featuring Wizkid
We definitely had to add this number to the list, as not only is it a hugely underrated jam that we don’t get to hear enough in the clubs, it’s actually a single from Wizkid and Vybz Kartel himself. The clash from the weekend had people digging up Starboy’s old tweets including one where he admitted to Vybz Kartel’s music heavily influencing his, and this influence is made abundantly clear on “Wine to the Top”, as Wizkid puts on his best patois-filled verse for this waist-breaking number.
“Everytime” ft Future
By the time Wizkid had featured on Drake’s chart-scaling number “One Dance” it seemed like the international features were literally rolling in by the thousands. ‘Sounds from the Other Side’ saw him linking with Drake again, Major Lazer and even Trey Songz and Ty Dolla $ign.
That same year, he tapped into everyone’s problematic fave, Future for a romantic single “Everytime”. The song was only released on Soundcloud for a long time, and was then made available on streaming platforms a little while after, so it managed to slip under the radar as well. Produced by Shizzi, both artists traded bars about beautiful, enchanting women who they can’t seem to shake off their minds.
“Blow” ft Blaq Jerzee
Last December, Wizkid surprised fans with a new 7-track project ‘SoundMan Vol.1’ on which he paired his intoxicating melodies with colourful beats from producers Kel P, Blaq Jerzee and newcomer, London. On the EP’s second track “Blow”, Wizkid leans further into his Caribbean influences with the raunchy intentions behind his laid back vocals as he tries to woo a love interest. The T.G. Omori-directed visuals match the song’s colourful and seductive lyrics.
Thank You
At the time it was released, “Thank You” strayed away not the usual infectious danceable afropop melody we were used to expecting from Wizkid. To show off his range, he dropped a thanful and appreciative track to his fans for their undeniable support over the course of his short stint at the time, over the catchy Spellz-produced beat produced. These days, Wizkid stans, known as Wizkid FC are almost on the same ranks as the Beyhive or Barbs, and the #NS10V10 clash definitely showed this, when they showed up and out to support Wizkid in online polls to win the #NS10vs10.
Featured image credits/Wizkid/Instagram
Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_
Ever since he released his debut project, ‘Lagos City Vice’ in 2018, WANI has made his mark on the scene as one to watch and has only grown more into his potential since. For his latest effort on DRB’s “I Swear”, he steals the entire show with his reflective lyrics and impressive vocals, where he gives us a lesson on the importance of vulnerability and resilience.
WANI announced on Twitter that he wrote this verse right after his performance at NATIVELAND 2018, where he wasn’t met with the reaction he was expecting after all the love LCV was met with online.
I wrote “I swear” after my nativeland 2018 performance, Imagine dropping the hottest project in the country and people still don’t know who you are. everywhere quite on stage 😂 🏃🏿
“I swear” was a promise to myself to keep on pushing , I can’t let these nigga see me break !
Against a mellow beat produced by Beatdemons, BOJ starts the song off with the catchy hook, before WANI joins with the chorus where he sings very poignant lyrics saying: “Can’t fall asleep not even on my off days, I swear I’m gunning like I’ve never before” and “I ride for me when no one’s there”. Showing that you need to show up for yourself even when it’s hard to.
Speaking to the NATIVE about his contribution to the song, Wani says:
“I was in a lot of pain when I wrote that chorus. I had never really performed any of the songs from my project, so I thought I was going to kill the performance and I didn’t get the reaction I was hoping I would get.
You might listen to the song and think I’m trying to flex, but I was just hoping the things I was saying would happen in the future, and it’s starting to manifest. People are fucking with me more now so there’s been some progress there. I don’t have that much anxiety in performances anymore because now at least people know me”
DRB’s aim with this project was to show what it’s like to be a young man hustling in Lagos, and “I Swear” is a more vulnerable take on this than the rest of the songs. Resilience is an ineffable quality to have in life, and rather than letting failure overcome us and drain our resolve, we must always find a way to rise from the ashes, and DRB’s “I Swear” serves as a great reminder.
The mellow beat matches the song’s vulnerability and leaves enough room for each artists’ vocals to take centre stage. To buttress WANI’s sentiments, Teezee’s verse speaks about how his time off gave him the drive he needs and how much he grew in the time he took to recuperate. Fresh L also continues in this mode, rapping that he’s often labelled as underrated and that he’ll be rated someday, letting us know about his strong resolve and work ethic.
It’s typical for people to feel pain, bottle it up, and carry on like normal. With this song, WANI released his emotions and wrote himself the perfect reminder that he needs to be resilient in order to get ahead. “I Swear” is a great pick me up, and the perfect soundtrack for those times when you’re feeling a bit unmotivated and need a dose of self-love.
Every time an artist drops new music, they’re unwittingly competing with their previous work, and in some cases, older version(s) of themselves. Unlike new artists who have the luxury of a clean slate, artists we’re more familiar with are always placed in conversations about what they’ve done before, especially in the eyes of the public who have come to define these artists based on their own reception to previous releases.
Since the public’s reaction is what determines the success of the song, it’s widely regarded that once music is officially released, it now belongs to the public. During this period, opinions on the quality of the music begin to fly about, and due to the subjective nature of those, we tend to project our set expectations of the artist.
While opinions are very important when it comes to music, basing them solely on a perception of who the artist should be due to their previous work only serves to box them in and obfuscate evolution. Once there’s a dissatisfaction, sometimes brought upon by what the switch-up represents and not the actual quality of the music, opinions turn into suggestions, which in turn becomes outright demand. This is why perhaps for example, calls for the ‘old’, soul-sampling Kanye have become a thing, ever since he dropped the bolshy and deliberately aggressive ‘Yeezus’ back in 2013.
One of the most noticeable examples of this in afropop is Wizkid, who is currently the go-to artist for debates about old and new versions of an artist, and which version is better. Wizkid’s major breakout on to the global stage, ‘Sounds from the Other Side’, became the catalyst behind this debate, since there’s a perception that it alienated the majority of his local supporters for not being ‘Nigerian enough’.
At a time when the mid-tempo, banku-indented variant had become a norm in the Nigerian mainstream, Wizkid brought afro-Caribbean melodies to the table, and even though it wasn’t a radical or inaccessible musical choice, the reception wasn’t quite what you’d expect from a Wizkid project. What made the album frustrating to some, was that we had all been waiting a long time for the album, and it didn’t remotely sound like his classic debut album, ‘Superstar’. As a result, instead of being judged by sonic quality, ‘SFTOS’ was mainly subject to opinions based off expectations and external semantics.
To be clear, ‘SFTOS’ isn’t some misunderstood classic, however, the initial reactions grossly undersell the project’s quality. Shortly after, Wizkid went on a run of smash hits, which ostensibly sounded ‘Nigerian enough’, including “Manya”, “Soco” and “Fake Love”. While the success of those songs was rightfully deemed as a return to form, that switch-up gives fans the idea that they can explicitly dictate how an artist should approach their craft, which begs the question of what will happen if Wizkid decides to switch up his sound on us again, and whether he will have to conform to expectations if many don’t like the change and not even particularly the music.
As listeners and observers who aren’t part of the creative process, we need to respect that artists deserve to make whatever type of music they want to make. Anything less than that, is a way of stifling autonomy and diminishing creative agency, which only impedes artistic growth. We can still hold artists accountable regardless, by giving their music a chance on its own terms rather than what we want it to be or sound like.
The important thing to know is, music comprises a handful of elements—instruments, voices, chords, etc.—and while various genres work with different types of arrangements, each person can deem the music as good or bad according to their tastes, but at least with some level of open-mindedness.
It’s not wrong to set the standard for an artist based on their previous work, however, there should be room to expect the unexpected. For more niche artists and those who have created an identity on being constantly experimental, preconceived notions are never an issue, this is more for artists who are expected to frequently score hit songs.
In one of the highlights of a recent Instagram live session, M.I Abaga was briefly joined by DJ Spinall, who made it plain that all he wanted from the rapper was club anthems in the same vein as “Anoti” and “Bad Belle”, not the lyrically dense efforts he’s put out over the last two months. A few days before, an article with this same sentiment surfaced, where the writer deemed M.I’s recent projects as a step back for Nigerian rap music because none of the songs were obvious club hits and catchy anthems.
While it’s well-intentioned to want an artist to make music which garners mass appeal, it’s disingenuous to ridicule their output because it doesn’t conform to a set agenda. During the same live session, M.I was joined by Sarkodie, and they discussed what it means to juggle what you want to do as an artist and what the people are demanding of you. For both these rappers, who have proven adept at making hit songs and no-frills rap music simultaneously, putting a boundary on their musical direction is an affront to their proven abilities.
Sadly, though, public validation is central to an artist’s relevance, and since commercial success is the gauge for acceptance, some artists will constantly appease the fans to the detriment of their freedom to express themselves through the music. In order to balance things out and foster a wholesome ecosystem, listeners need to approach music with some level of awareness— the least we can do is to not suffocate them with our ideas of what their music should be and judge accordingly.
Opinions are important, dictating isn’t.
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
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 Friday, we enjoyed new releases from DRB, WurlD, Adekunle Gold, Maison 2500, Adanna Duru and many more, as artists around the continent continue to roll out much-needed music to get through these strange and unprecedented times. To start off the new week, we have new releases from Skepta and the late Tony Allen who join the Gorillaz on their new single “Song Machine: How Far?”. We also have new releases from M.anifest, Dammy Krane, ShowDemCamp, Idris King x DAP the Contract, Deena Ade, Ictooicy. Dig in, and you’re welcome.
Gorillaz – “Song Machine: How Far?” featuring Skepta & Tony Allen
Grammy-winning group, Gorillaz are paying homage to the late Afrobeat legend, Tony Allen with their new single “Song Machine: How Far?” which they enlisted Skepta for. In his usual fashion, Skepta reflects on his journey whilst navigating the music industry with impeccable flow, rapping: ‘Just know I love the action but I move in silence/Taking what’s mine till Elizabeth returns the diamonds’ self-assuredly before the song closes out with Tony Allen’s vocals.
In a press release, the Gorillaz revealed that “The track was written and recorded with Skepta in London just before lockdown and is being shared immediately as a tribute to the spirit of a great man, Tony Allen”. Rest in Power.
M.anifest – “No Long Talk”
M.anifest is back with his first single since the release of his third studio album last year. “No Long Talk” begins with what appears to be a voice note from his father commending him for his achievements and filled with immense pride for his creative son. On the upbeat track produced by Mike Millionz’onem, M.anifest tackles fame and pain with sharp, clear raps. ‘I come alive on IG Live/The lockdown has put a padlock on any new love’ he raps confidently, speaking about how the current state of affairs has made artists resort to social media channels like IG live to connect directly to their fans. The rapper is definitely taking full advantage of this, and is currently collating videos of fans rapping along to “No Long Talk” for a quarantine video special for the new single.
Show Dem Camp – “That Year” featuring Sir Dauda
Rap duo, Show Dem Camp has just released their first single of the year which features talented singer, Sir Dauda, which reflects upon how far they’ve come in the game over the years. With an Ikon-produced beat laced by acoustic strings and vivid percussion patterns, the duo trade bars about getting shit popping after years of grinding in the come up as independent artists. In the accompanying music video, we get to see their come up in real-time, with clips of their highs and lows, and the fans who have stood by them throughout their journey.
Dammy Krane – “Aje”
Dammy Krane is clearly gearing up for a comeback on the scene this year, with a new EP titled ‘4 D Girls’ which is due for release this year. Ahead of this, he recently shared the first single, “Aje” where he sings praises to God about his privilege to have basic amenities even in the face of economic struggles in Nigeria. The catchy upbeat track which was produced by Gnash makes for a real feel-good appreciative number, fitting for the unprecedented times we’re all currently facing.
Idris King – “Roses” featuring DAP the Contract
Idris King has just released a new 3-pack release titled ‘Pure’ over the past few weeks, which is exclusively available to stream on his website. His latest drop, “Roses” featuring DAP The Contract sees the pair lusting after a love interest who they seem to be disconnected from. Over airy synths, he alternates between rapping in French and English, while he tries to remind her of the love they shared, before opening the floor for DAP’s straightforward raps.
We love hearing songs from artists who are able to sing what we’re all feeling inside, but aren’t quite able to express, which is what makes Deena Ade’s latest number so special. On “Bitter”, Deena Ade mourns a lost love and is full of rage and anger at this person who has hurt her. ‘Yeah my ego is bruised but I gotta let you go/Yes I’m kinda bitter’ she sings with strong vocals to express her deep pain and resentment for this person who has caused her irreparable damage. We feel you girl!
Watch the homemade music video for “Bitter” below made by Deena Ade herself and Yunastand.
Ictooicy – “Die For You”
Ictooicy is definitely one of the most hardworking young artists in these times, and even in the midst of all the chaos, she’s continuously rolling out content for her social media following from freestyles to new singles and visuals. For her latest release “Die For You”, she’s longing for a past lover and likens her love for this person to a drug which she can’t seem to get enough of. ‘Always knew our love will fade away/And you’re my heroin make me fade away’ she sings, digging into the frustrating knots of life and flipping them into echoing synths-inflected number.
Theophilus King – “Cha Cha Cha”
Theophilus King has just released his first single of the year titled “Cha Cha Cha”, a catchy upbeat number infused with bass, hi-hats, and whistles and slick, scant singing, sure to get anybody on their feet and dancing along. The song is heavily influenced by Salsa, with the title immediately invoking the cha cha slide, whilst managing to flip the popular sound for a boastful rap number.
Featured image credits/Gorillaz
Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_
The global outbreak of COVID-19 has proven to be a stressful time for those who work on the front lines of health care everywhere in the world. In Nigeria, we can’t imagine how tough it has been for all the doctors, nurses and caregivers all around the nation whilst trying to figure out the virus in an overstretched healthcare system, which lacks almost everything – from staff to equipment, especially given the attitudes of the population who haven’t taken the pandemic as seriously as they should and the rising number of cases everyday.
We must all take extra care, especially now that the government has eased up on the lockdown rules and things are likely to get more hectic around here. Healthcare workers remain at the front line of response and must be given the due props – beyond putting their own lives at risks, they are saving the lives of many, whilst containing the spread of the virus by nursing those who have been infected back to good health.
In order to demonstrate the public’s appreciation for everything Nigerian healthcare workers are doing for us in the wake of the pandemic, The Plug put together a heartwarming show of thanks for them. Featuring artists, actors and radio presenters such as Davido, Kemi Smallz, Jemima Osunde, Basket Mouth and more, the video gives a round of applause all our doctors, nurses, caregivers, research analysts and other key workers in the medical space.
We cannot thank you enough for your bravery, kindness, and valiant sacrifice, and we are wishing you all the best as we all continue to fight the nasty virus. Please do your best to stay at home and anything else you can to avoid the spread of the virus.
Lindsey Abudei has been a silent evangelist for neo-soul and afro-jazz music for nearly two decades. Her debut album ‘..And The Bass Is Queen’ earned critical acclaim for its dramatic compositions, compelling songwriting and Lindsey’s soothing, pitch perfect voice.
Prior to the release of her full length project, she had started her musical journey in Jos, collaborating with artists like Jesse Jagz & Ruby Gyang whilst still completing her law degree. Upon moving to Abuja, she meticulously crafted her debut project, an EP tilted “Brown” with musical composer and songwriter Atta Lenell, which featured a heavy jazzy texture and became a characteristic marker for her music.
Her latest single “One On The Outside” is an enthralling ballad, featuring a lush symphony of chords, tamed by Lindsey’s expansive vocals and gentle adlibs. Ahead of its release last month, we spoke to the songstress to discuss her experiences in the industry so far, her development in the time since her last full-length project, and what it means to be an artist.
NATIVE:It’s been 7 years since the release of ‘Brown EP’, using the knowledge you have now, would you have approached it recently?
Definitely looking back now, there are things that I would have loved to change, but at the same time, I wouldn’t change anything. Brown was me in a space trying to put a stamp on finding myself, so I wouldn’t change it for anything. It was where I was at the time, with the knowledge I had. When the bass is queen came out, it was a different direction, it shows the journey, and I wouldn’t change that for anything. There’s always going to be room for improvement.
NATIVE:How come you decided to take such a long break after ‘..And The Bass Is Queen’?
Lindsey Abudei: It took me 3 years to make ‘..And The Bass Is Queen’. I was taking my time, writing, recording, and figuring out what direction I wanted to go in. My musical absence is not deliberate, everyone has their own process, Lauryn Hill has toured the world with only one album. It takes a while to write, it takes a while to record. I’d rather not burn out just because I want to keep up.
NATIVE:Where does your confidence to not chase a hit single come from?
Lindsey: When it comes to my work, my confidence just comes from me being honest with my art, and how I like to create. People take 2 – 3 years to record an album, some even 5 years, Sade does almost 8 years before an album, so we should really start to embrace the fact that everybody has their own process, and accept it for the way that they are. What matters to me is that I’m not so particular and I’m not really crazy about getting singles out. I’m more interested in creating lasting bodies of work, because those last longer.
NATIVE: In your Ted Talk, you seemed sceptical about Afropop’s emergence on the global scene, would you say being a Nigerian artist holds weight in the international scene?
Lindsey: To be honest, the last couple of years have been really great for Nigerian music. I wouldn’t even call it scepticism, it’s more of a question; why that genre of music is the only genre that is being sold as what comes from Nigeria. For those of us who do genres that aren’t afropop, it doesn’t do justice to us. I’ve really been for opening up the spectrum and letting people see the other genres of music by Nigerians.
Being in residencies, I usually get the reaction; “I didn’t know that Nigerians made this kind of music”. So that tells you the story is not true, the story being sold doesn’t tell the whole thing, it’s only telling a particular part, and somehow the world is swallowing it. I think that there’s just a group of people who the media is selling to, and it doesn’t really go in deep. If you get past the surface, you realise that Nigerian music has not really dug in, as much as you would expect it to, and that for me says a lot.
NATIVE: Would you say that it’s because these genres do not have an extensive history in Nigeria as much as Afropop?
Lindsey: Well because the amount of attention on the particular genre – in this case, afropop– definitely pushes the narrative that this is what’s popular, and radio plays more popular songs. The media focuses more on those musicians, more than other genres, and not many media platforms are catered to other genres. So I think maybe the saturation and the fact that there are more people doing that genre has a part to play.
NATIVE:Do you think it’s easier to make music these days, and does that affect the quality or value of the art form?
Lindsey: I wouldn’t say that ease of entry is the reason why the value of music is less, the way the industry is, sometimes, we’re made to think that everything is so fast-paced and that if you don’t fall in line or follow the formula, you’re not going to be recognisable, or considered. So it puts pressure on the artist to keep putting out stuff, and in the effort of putting out stuff, you’re not really thinking about quality.
I think ease of entry has made it easier for people to actually know of genres that aren’t popular because the Internet has opened up avenues for independent musicians, there are now more tools and resources that are available for independent artists. There was a time where you couldn’t get your music on iTunes or Spotify if you weren’t signed, but now it’s pretty open. If you can pay the fees expected of you to pay for distribution, pretty much anyone can get on iTunes and Spotify or Tidal. Ease of access has made it easier for us to connect with more people outside of Nigeria for those of us who are not in the forefront when it comes to talking about Nigerian music.
NATIVE: Are there other aspects you would like to explore?
Lindsey: There are definitely parts of my creative side I’d like to explore more. I like photography, so far what I’ve done is mobile photography, taking pictures with my phone. I have a VSCO account where you can see some of the photos I’ve taken. With the experiences I’ve had for the residencies I’ve been in, I’ve gotten to the point where I would love to work in a way where I can collaborate with other artists in different disciplines, especially when it comes to visual arts, whether it’s film or photography. In the future, I’m hoping I can find a way to have that intersection between music and film, or music and photography as moving forward, as a way of expressing myself more, because I feel like these are two things I’m interested in.
NATIVE: Do you feel there has been much growth in the alternative scene?
Lindsey: I wish that we would get past having these two categories, if it’s not afropop, then it’s alternative. There are other genres, like r&b, soul, indie etc. I like that they are showing a different side of Nigerian music, but I feel like it’s also now creating this big box that they’re shoving people in, so if you’re not in afropop, you’re shoved into that and I’m not very enthusiastic about it. I still want to see it expanded, because I’ve heard people who have done good music, who are active in different genres, whether it’s afro-jazz or soul, and I want to see them come out and be shown as who they are, and not just shoved into a category that is not Afrobeat. The alternative name that doesn’t do justice to what the artist is saying about their music.
NATIVE: Which other artists are you currently listening to and championing?
Lindsey: Definitely there are people’s albums that I enjoy, like Asa’s album I was excited about, there are still people like Bez and many others like the Cavemen, who are doing this very interesting fusion of contemporary genres with highlife, people like that I enjoy.
Featured Image Credits: Web/ Lindsey Abudei
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Djaji is a creative Vagabond, send me your takes on music and African culture @djajiprime
As the world we are used to fades into the past, with not much certainty of when, or even if, we will get it back, there are few constants that have been able to keep us sane – music is one of them. Whilst we can’t listen to our favourite new releases in the clubs, or show off our intricate knowledge of sub-genres on the AUX, platforms such as RECESS’ offshoot No Signal are giving us different ways to digest music as a community, most notably through their now infamous artist catalogue battles, #NS10vs10.
Brothers, Jojo and David are the duo behind the London party sect, RECESS, commonly dubbed “the party of the people”. Beginning No Signal in order to extend their ecosystem, giving more DJs the opportunity to join the RECESS network through a more casual platform, Jojo and David have now become the masterminds behind one of the most coveted radio shows in the UK, and beyond, during this lockdown period. With their 10vs10 battles welcoming audiences from over 34 countries around the world, breaking their record listeners with each episode – the Burna Boy and Popcaan clash brought in over 24,000 listeners – No Signal has even influenced album sales and chart positions, as fans look to familiarise themselves with the discographies of the artists being pitted against each other.
Ahead of tonight’s hotly anticipated clash between Wizkid vs Vybz Kartel clash, we spoke to the RECESS duo about how the battles have affected them as a business and individuals. But first, let’s hear what the pundits for tonight, Joie and Levels, have to say about their tactics and techniques going into the big game.
The NATIVE: How are you preparing for battle? In terms of finding the right songs from their vast discographies and tactics going into the battle.
Joie: I’ve been listening to Wizkid alllll week, really zooming on the songs with the best production because we all know songs are not just the lyrics and performance; it’s about how it makes you feel. Obviously I’ve had recommendations but I think my list will at least please SOME people.
How are you handling the pressure? Both Vybz and Wizkid have some pretty passionate fans
Mate, I don’t even know if I’m handling it. I’ve put my twitter account on private so people don’t bother me and yet they still find me. Either way, I’m a confident person so my tongue is just as sharp as theirs.
Why is it important to you to showcase these discographies?
Music is very important to me and it’s especially important to explore the music of the kings of their respective countries. We don’t seem to understand how deeply intrinsic our music is back home and how much of a cultural impact they’ve had.
The NATIVE: How are you preparing for battle? In terms of finding the right songs from their vast discographies and tactics going into the battle.
Levels: Kartel has over 1000 songs so condensing his catalogue into 15 hits, whereby only 10 will play, has definitely required more focus than my dissertation!
How are you handling the pressure? Both Vybz and Wizkid have some pretty passionate fans
No pressure at all. I see it as a little bit of online fun – corona cheer, if you like. If Kartel’s freedom was dependent on today’s results than I’d be a nervous wreck!
Why is it important to you to showcase these discographies?
Wizkid has achieved phenomenal success and has had an illustrious career within the last decade. He’s catapulted himself to the pinnacle of African pop music and transformed himself into a global icon
On the other hand, Kartel has achieved then near impossible. Constantly reinventing himself and remaining the dominant force within Dancehall – even from a prison cell for 8.5 years – is a feat to be celebrated and there’s no better way to do so than showcasing his music.
The NATIVE: How have the No Signal battles been helpful in helping you sustain the business during these uncertain times?
RECESS: Obviously the parties bring in money and [the radio] stuff hasn’t brought in money so far but it’s brought a lot of awareness and stuff like that. We like to entertain people, and [No Signal] given us a chance to entertain people and still maintain our relevance as people who program moments. We put together moments and find ways for people to enjoy themselves.
I’d say it does put less pressure on us to keep RECESS relevant or alive. RECESS can still exist on a more dormant basis, because this whole 10v10 has allowed us to still maintain our presence as people who create cultural moments. So we’re not making money but by making the right moves we can start making money.
What inspired you to begin the 10v10?
The 10v10 started from the desire to make interactive content. So, we saw a lot of stuff at the beginning of quarantine, people on Instagram Live – we had all of those Lives going off, like Tory Lanez, Versuz that Timbaland and Swizz Beatz started. Naturally, Versuz started a lot of conversations, and then one guy called Bola tweeted “Drake vs 50 10v10 who would win?”
I saw it and I was like we can make this happen at No Signal. I know how to make audio and voice chat and mix it together and put up a radio show from our bedroom. So I messaged him and just told him ‘listen we can make it happen, are you down?’ Then I got like Jameela down, I got my friend Scully the presenter and Henrie the presenter as well, got them down to host it and yeah, the rest is history to be fair.
When did you realise that this had caught the attention of the public, beyond the audience that knows Recess for the parties?
I think it was after the Kojo one that we realised this was beyond the RECESS crowd. But even from the early days, I would even say the RECESS crowd jumped on, because like in the early days the numbers were still quite low compared to something RECESS might do.
People would lock into the RECESS show – I remember when we first started this No Signal Radio we would do streams earlier this month [on RECESS] and the RECESS parties and shows would probably get more streams than the no signal show, by far. But now it’s completely the opposite way around so, I can’t lie to you I think the RECESS crowd even jumped on to this, because they weren’t aware of it either. Before we only used our platform to stream our parties and things we used to do and maybe do events on the side with the name No Signal.
How do you feel about the reception so far?
The reception’s been crazy because at first we had like a hundred people listening, and it’s like ‘ah that’s mad’, then we touched like 200 and it was really mad, that was Nicki Minaj vs Lil Kim. But then it started to take off when we did 50 vs Ja Rule, we had like 851 and we was like “what the fuck!?” But then, J Hus and Kojo, that’s when it was like 4000, 4500 people and it was like ‘you this is actually kind of crazy’. And people knew what we were doing innit.
What have you learned from this whole experience?
My experience is that you can’t please everybody. We’ve had so many negative comments about this, it’s crazy – you can’t even take it personally. People will say ‘why are you comparing them? Vybz Kartel is incomparable’. Other people were being inflammatory towards dancehall lovers and Vybz Kartel. It was a bit mad, it was a bit mad to see all that, but you can’t take it personally.
Another thing we’ve probably learned is that there’s no excuse. Like this is DIY radio out of our bedrooms, DJs are doing it out of their bedrooms, all the hosts, out of their bedrooms – yeah, there’s really no excuse in life. If you see there’s a problem, something you don’t like in any field that you work in, try be the solution instead of complaining.
Can’t lie we was complaining before. When we were on road, we were complaining all the time. We were like ‘when we get a studio we’ll pattern it properly’ but now this Corana has forced us to actually pattern up.
Do you think clash culture is going to make a comeback whenever we’re allowed back out again?
I think the clash culture never left. If you go to raves, you go to parties, you’ll just know it’s never left. But in terms of the way it’s so prominent and regular [now]?
I think this is a good time to re-educate people on clash culture. Obviously, we’re not here to teach anybody, that’s why we’re not calling it a clash because we know that this ain’t exactly a clash – it has a few elements of traditional clash culture but this ain’t a traditional clash.
But I do feel it’s time for clash culture to step into the 21st Century. Not that it’s old, but it’s always referenced like ‘oh it used to be great back in the day’ do you know what I mean? So [we want clash culture to] step into 2020 and beyond, for people to understand it, not for it to be watered down but for it to be made palatable for everyone to enjoy.
It deffo could run because music is one of those things that you can enjoy in so many ways, and the fact that clash culture exists shows that music is really something. To enjoy music in a way that’s borderline competitive where opinions really matter in a space like our space where we usually enjoy and dance to music but right now my opinion count, that’s really something.
And another thing we wanna say is: Black Radio Baby
