Bantu send a timely message with their latest release, “Disrupt The Programme”

Posted on by The Native

Any member of an oppressed or marginalised group in society knows that to be set free, you must fight for it. For as long as the nation has existed, Nigeria has proven to an inhospitable environment for inhabitants, and the situation is either getting worse, or the people are just more hip to it.

Music has always been a means to pass social commentary, and over the years artists haven’t shied away from doing so. Subject matter, however, makes all the difference, and Bantu have returned with a bolshy new track to drive this message home, “Disrupt The Programme”.

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This year alone, the government has tried the people several times, and we’ve had a series of unfortunate events from the sudden Keke and Okada ban in Lagos to the proposal of the social media bill. Currently, there’s uproar all over the country, and we’ve had increased rates of robbing and looting thanks to the lack of a contingency for those who live hand to mouth in the face of the pandemic.

This is what makes Bantu’s recently released song, “Disrupt The Programme” so important, as it encourages young Nigerian to speak up against the injustice in a bid to create a better country for us to live in. The horn-driven song tackles the many incidents from insurgency and kidnapping to corruption and vote rigging with a sonic urgency and unyielding determination in stark contrast from some of the common themes in contemporary music.

Speaking about the song, the band’s frontman, Ade Bantu told The NATIVE:

“The freedom of expression, the right to protest and peaceful assembly is being threatened in Nigeria. ‘Disrupt the Programme’ reminds us that in the face of social and political injustice, we cannot afford to be silent. We must speak up and let our voices be heard. We must disrupt the programme”

Watch the video here:

 

Listen to rap freshman, Yazzavelli’s empowering debut EP, ‘Velli’

Posted on by Adewojumi Aderemi

“I’ve always been an entertainer” proclaims the versatile 24-year-old creative, Yazzavelli. Over the years, Yaz has dabbled in her fair share of artistic enterprises: photography (see @min.u.matic), filmmaking and now music. Velli is Yazzavelli’s latest creative exploit, not to mention a doubtless affirmation of her opening statement.

Yazzavelli is an entertainer, and like all good entertainers; her life, and subsequently her bars, are stacked with endless bravado and debauchery. Yazzavelli’s got a fleet of fancy cars, from Jaguars to Benzs, a stomach full of Henny, and all the aspirational #Lifestyle boxes ticked. Velli is the bolshy, sexually liberated tone of feel-good music that leaves every listener all the more in love with themselves.

 

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Confident in her wordplay, her musical deftness, and pretty much every aspect of herself, Velli’s boastful ten minutes introduces Yaz as the newest irresistible dom on your radar, and confirms her motive to leave every woman listening feeling the same. In Nigerian society especially, finding a man is popularly considered the pinnacle of a woman’s existence; in Velli‘s world, however, men are seen for what they are – just men.

Through her blunt, crude bars, Yaz discourages submission to those social customs that dictate women live their lives for the satisfaction of men. Rather, Velli is encouraging women appreciate the power in felinity, which is often associated with weakness, and to be carefree about one’s sexual appetite, which is often curbed.

This doesn’t mean her lyrics are friendly, however. Yazzavelli isn’t going to coddle you into loving yourself and putting yourself first – her tactics are all stick. Self-professed “tall thick bitch and I’m cut-throat” (so “Lizzo” opens), Yaz is well aware of her intimidating presence, and whilst, to some, this might translate into an insecurity, intimidation is Yaz’s power. On “Velli” she brags: “I gave her heebie jeebies now she pissed her self on sight, call it fright night”.

The arresting opening track, which was initially called “Joker”, kicks off with a sample from Joaquin Phoenix’s critically acclaimed character, his psychotic laugh setting the scene Yaz’s twisted gag. She tells us: 

“I sampled The Joker’s laugh because it captures my dark humour well. His character is one of the most relatable I’ve seen on screen. I think we need more Jokers in the game.”

 

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Regardless, Yaz has a caring side tucked away beneath the villainous persona she often adopts through her verses. After four brazen tracks comes “Count To Five”, a comforting song where Yaz assures her listeners that she’ll be there. Of course the reassuring chorus, “count to five if you’re feeling scared, and I’ll be there” is followed up by a much less amicable verse that reminds us that Yaz’s “heart real cold”.

Yazzavelli wouldn’t be caught dead going soft, divulging isn’t in her repertoire, so the moderate number is primarily handled by her old friend S.I.N, whose sensitive lyrics and soothing voice illustrate the beauty of vulnerability. Dopeman Twizzy, the beatsmith responsible for “Velli”, “Drop It Low” and “Lizzo”, is the second featured artist on the EP, appearing on the latter two tracks he produced.

“I wrote most of the songs on my EP in a week, but it took four months to actually create a finished product” Yaz tells us of her and Twizzy’s process. A self-professed music-head, Yaz’s music is not informed by particular genres – even though she’s clearly partial to hip-hop, citing Snoop Dog, Missy Elliot, Juicy J & others as primary influences – but rather, driven by her desire to make music which she and others can revive the 1-2-Step to.

Velli is meant to get your head bopping, your arms flailing and your mind going going. Listen here: 

Featured Image Credits/@yazzavelli

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ICYMI: LISTEN TO DAP’S LATEST PROJECT, ‘POWERS, VOL. 1 (EP)’

Best New Music: HVRRY & Higo “Company” featuring Buju & WANI is an instant hit

Posted on by Tami Makinde

Over the past few years, the alté music scene has seen a lot of growth, attention and forward motion thanks to the hard work of the invaluable community of artists, producers and creatives coming together. More than just artists working together, the music we’re getting is a result of camaraderie, which creates an environment for an organic progression for everyone involved.

One of the most perfect examples of this, is the latest release from 8OSounds’ Higo & HVRRY, “Company”, which they enlisted another set of friends, Wani & Buju for.

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The tropical, reverb-heavy “Company” is a groovy backdrop of ambient riffs and catchy Afropop instrumentals, which capture the essence of a modern relationship today. Drake once said “we live in a generation of not being in love and not being together, but we sure make it feel like we’re together, cause we’re scared to see each other with someone else”, and “Company” confirms this sentiment.

Throughout the song, both artists sing about the stages we go through in romantic relationships, sending numerous mixed signals and being unsure of your lover’s feelings for you. As human beings, we tend to protect ourselves by letting pride kick in, rather than putting all our cards on the table and going with whatever comes of it.

“I Need Your Company/ Cannot beg you for your love” Buju sings on the chorus, after his verse expresses how afraid he is about his lady giving another man what he feels is due to him. From what he’s singing, he seems desperate for his girl’s attention, even though he knows “oga” (the other man) is around and could run into some trouble for it. Wani then joins him to affirm that he can’t kill himself over her, and will only do as much as he can to gain his lover’s affection.

Beyond the subject matter which makes us reflect about how we’re all approaching romance, – especially now that many of us aren’t able to physically express it – the HVRRY and Higo produced beat ensures that we’re still wanting to turn up while in our feelings. Speaking to The NATIVE, Higo confirms that the plan was for the song to be primed for DJ sets and dance floors.

 “I had the demos for “Company/Issues” for months before the song dropped, and I wanted both songs to be able to play at festivals or concerts. Wani and Buju were both on board with the track when I played it for them, and shortly after playing Buju recorded his verse that same day”.

In these times, where everyone is looking for a bit of entertainment, the song’s catchy beat is guaranteed to get anyone off their feet and grooving to the beat. However, we should take this as a chance to strip back all the fears and hesitance we have when approaching romance, and make a point to set the games aside, and just come to each other as we are.

Listen to HVRRY & Higo’s “Company” below.

Featured image credits/Higo & HVRRY

Tami is a lover of women, music and astrology. Tweet your fave female artistes at her @tamimak_

ICYMI: Odunsi & Tems’ “Decided” is the perfect song for a deep dive within

Santi promises to feed us with new music this month

Posted on by Adewojumi Aderemi

As the world has slowed to a halt thanks to COVID-19, we’ve found ourselves unusually reliant on social media as a source of constant entertainment. Instagram Live, in particular, has become the feature of the moment, with virtual parties, intimate interviews and reckless twerkathons airing daily on the mobile app.

As well as being a hotspot for mindless entertainment Insta Live has become the new source of inside information from all your favourite musicians. Via IG live, Kid Cudi has aired two unreleased numbers, Drake revealed he and Rema have a song together and now Santi has guaranteed fans new music this month.

Initially joining his good friend, Whitney on her live to offer advice to their viewers, Santi was, of course, bombarded with questions about new music. Unfortunately, with the coronavirus curbing international travel and prohibiting social gatherings, Santi explains, he has been reluctant to release new music, as he won’t be able to usher the songs out with self-directed flicks. Santi is as much a visionary director as he is a captivating artist – his M.O. is to accompany his singles with cinematic music videos.

Well, nearly a year after Mandy & The Jungle – his last musical offering – with understandably impatient fans breathing down his neck, Santi is willing to break his own rules, promising that April will not pass without new heat. There’s no exact date yet, but rest assured, “you will be fed”.

Covering everything from safe sex to secondary school nostalgia, Santi’s live session with Whitney was surprisingly open for the enigmatic artist. Not only did viewers score a preview to his new record with Octavian, titled “End of the Wicked”, titled after the 90s Nollywood Horror flick, Santi divulged some of his plans for the future, including confirmation of his forthcoming movie .

First, upon being asked to release a Santinese dictionary, Santi suggested that our next communion will have Santi hymnbooks so we can all participate in his lyricism at his shows. Then, as well as bragging about his “crazy” unreleased records with Maison 2500 – who will appear alongside him on DRB’s upcoming album, Pioneers – Santi also revealed plans to release another full length album this year, starring Odunsi and other “mad” features, whom the master collaborator leaves undisclosed. According to Santi:

“Everyone who liked Suzie[’s Funeral], will like love this album, because I was like reckless, I don’t care anymore… Just like making whatever the f**k I want to make”

Enjoy this video of Santi dancing to “End of the Wicked” via Whitney’s Instagram:

 

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ICYMI: SANTI REVEALS PLANS TO CREATE A SHOW FOR AND ABOUT NIGERIAN YOUTH CULTURE

AV Club: “Kasala!” is powered by a strong execution & a story soaked in reality

Posted on by Dennis Ade Peter

Even though it was released nearly two years ago, Neflix & the ‘rona have given Ema Edosio’s ‘KASALA’ a chance to shine once again and we 10/10 recommend. Given that viewers are typically drawn in by the familiarity of the film’s featured actors, it’s not difficult to understand ‘KASALA‘s commercial standing as an indie film. Working with a very limited budget, director, Ema Edosio doesn’t feature any recognisable faces in the leading roles, which made it a lot less marketable to an audience who is usually drawn in by preference and familiarity.

Regardless, the film still manages to capture anyone who comes across it, thanks to its undeniable authenticity. “KASALA!”, –which loosely translating to trouble or problem – follows a chaotic day in the lives of four young male friends living in a Lagos slum.

TJ (short for Tunji), Abraham, Chikodi and Effiong start off a slightly typical day trying to live their best, youthful lives, however, they get caught up in some trouble, and end up having to tinker and barrel their way through an unfortunate event. The foursome head out for a party in TJ’s uncle’s car without permission, and Abraham ends up bashing the car during a re-parking mishap. While the rest of the film brilliantly revolves around their quest to fix the car before uncle Taju finds out, it’s also an alley-oop to the reality-driven ideals of the film.

Emboldened by its setting in one of Lagos’ many inner hoods, “KASALA!” is an engaging and enjoyable representation of the lives of the actual majority in the centre of excellence. These people live in place where owning a car—even if slightly beat down—is an indication of prestige and eating food on credit is a thing, where danger casually lurks and the ultimate goal for many is to make a better life and escape.

Within this scope, much like we’ve seen with other films of the sort such as ‘Friday’, ‘Anuvahood’ and more, ‘KASALA’ uses humour to set-up and subvert its hard-hitting truth, avoiding the trap of empty comedy or drifting into poverty porn by presenting a realistic view of life as it happens without appropriating stereotypes and constantly playing to its stakes.

Right from the beginning, director Ema Edosio picks a tempo and runs with it. Much like the city it’s set in, “KASALA!” is obsessed with forward motion, and the occasional dizzy spin, but there are no unnecessary attempts at breath-taking moments, since the movements all culminate into a tightly helmed piece. The film is a purposeful barrage of sequences that obscures, or at least, makes it easy to overlook the few loose ties, using a reliance on perspective as its main superpower.

It could have done a bit better if there was a bit more focus on character study—there are narrative points that would have benefited from a bit more exploration. We’re given insight to being thrust with adult responsibilities while still trying to be young, sexual abuse, and the effect of familial ties, but all of these are riffs, albeit important ones, interjected into the broader composition.

 

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The best and most enjoyable part of “KASALA!” is its acting performances, which allows the four central characters gel together on screen superbly. They embody the type of crazy ass friendship where fights and punishing roasts are the norm, but outsiders don’t get to enjoy the same privilege. Both in writing and performance, the grouping doesn’t come across as contrived, emphasising the standout turns of each actor, from Emeka Nwagabaraocha’s freewheeling charm and melodramatic bits as TJ to the weary but determined edge of Mike Afolarin (Chikodi), and from Tomiwa Tegbe’s driven performance as the street savvy Effiong to the ruffian and emotive candour of Chimezie Imo (Abraham).

There are also noteworthy support performances, like Kassim Abiodun’s unrelenting but well-measured vigour, especially in the golden scene with Gabriel Afolayan, and Alvin Abayomi’s rugged charm as the leader of a neighbourhood bully group. It’s in the urgent assist roles and its spectacular ending that Ema Edosio’s “KASALA!” plays up its superiority over an adjacent film like Abba Makama’s impressive debut feature, “Green White Green”.

In an interview with OkayAfrica, Ema admits to “Green White Green” being an inspiration for her own film, and it’s apparent in her adoption of that film’s Buddy Movie elements. However, the differing point is that Ema roots her endeavour in the real rather than the ideal, and it ends up paying huge dividends.

Featured Image Credits: YouTube/Ema Edosio

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ICYMI: EVERYTHING ABOUT THE DRAMA-FILLED “JOY” IS RIVETING AND HARROWING

Simi joins Ladipoe for new romantic single “Know You”

Posted on by Tami Makinde

Dating culture these days can be very complex; there are so many different rules and concepts of trust and loyalty are often lacking in these relationships. Most romantic relationships these days centred around situationships and hook ups, as everyone builds emotional walls around them in order to maintain some sort of sanity as the one who cares the least.

For his first single of the year since ‘Revival Sundays’, Ladipoe taps into Simi’s captivating vocals for new romantic cut, “Know You” which sees the two artists muse about modern day situationships which have you falling deep into it way too fast. Over the catchy beat produced by DJ Simi, each artist does what they do best, while they offer some insight to how we’re all feeling when we’re falling too fast for someone who we don’t really know that well.

Listen to “Know You” below.

Featured image credits/instagram

Tami is a lover of women, music and astrology. Tweet your fave female artistes at her @tamimak_

ICYMI: Joeboy is leading the apocalypse in the video for new single “Call”

Songs Of The Day: New music from Joeboy, Wani, Nissi, Buju, SDC & more

Posted on by The Native

Music has become increasingly important in the last month, and the constant cycle can mean that you miss some of the new music coming out of Africa. As the music scene grows more and more expansive, we’ve decided to help out, by sorting through all the new songs from across all the sub-genres around the continent to curate a column with all the best “Songs of the Day”, to highlight all the new releases you absolutely Need to hear.

Artists are doing a fair bit to keep us going, and this Friday, we have a lot of material to work with from all our faves. Earlier this week, we brought you new releases by a diverse set of artists, including Lil Frosh, Mayorkun, Ka$hlanta, Sarkodie, GoodGirl LA, The Black Esper, while today, Higo & Hvrry bring Wani, Buju & Minz together for a double release, and Nissi Ogulu updates her confident anthem, “Trouble”, with a video. Joeboy, Kida Kudz, The Cavemen, and Straffitti also have new music to usher us into the weekend.

Nissi – Trouble

Last year, London-based Nigerian singer, songwriter, Nissi, released “Trouble” and “Tornado” to build anticipation for her coming project. The Spaceship Records singer has updated “Trouble” with an accompanying video that brings the song’s empowering message to life. While Nissi sings her rebellious lyrics, “When the girls organise, it’s trouble oh”, we watch her goons beat up men trying to disturb her at a bar. Dancers are also seen moving along to the catchy rhythm of the dancehall Kizz Ernie-produced beat.

Joeboy – “Call”

Last year, we established that Joeboy was one of 2019’s breakout stars. The emPAWA singer’s knack for crystallising young love into Afropop bangers already proved to be a winning formula, he continues this theme in the first single from his upcoming debut album, for “Call”.

Produced by DeraTheBoy, the pop-R&B influenced beat evolves Joeboy’s signature sultry vocals into groovy melodies and lyrics that promise a good time on the dancefloor; “Smoke and booze/ Oya make we feel good”. Singing “I go dey call you my baby/ Na together we go dey”, “Call” is written with the same romantic narrative that defines Joeboy’s music, but he seems more focused on having a good time than he has ever done before.

Show Dem Camp – “Do Me Nice” Feat. Buju

Buju’s cut from Show Dem Camp’s ‘Palmwine Express’, “Do Me Nice”, was one of the highlights of the project. His whine friendly melodies and the lightweight beat produced by Spax, anchored the duo’s rap verses as they brag about their seductive allure and far-reaching influence in Africa’s music scene. Show Dem Camp have released an official music video for “Do Me Nice” and it pulls viewers into a more sinister story that features Seyi Shey playing a femme fatale, as she watches Tec and Buju kill themselves before shooting Ghost from point black range.

Higo & Hvrry – “Company/Issues” Feat. Wani, Buju, Minz

With more than a few bangers under their belts, 80’s sounds’ Higo & Hvrry have proved time and time again to be the bedrock of the alté music scene, which is quickly gaining attention from all over the world. While the world seems to be turned on its head, they have decided to team up to give us some new and exciting music featuring Wani, Buju and Minz.

The producer duo set a groovy backdrop of ambient and catchy Afropop instrumentals that are were made with the aim of taking everyone’s mind off the desolate times we’re in. Wani is partnered with Buju on “Company”, and they both try to navigate the tricky, at times stressful stages of their relationships as they sing; “I need your company/ But I can’t beg you for your love”. For “Issues”, Minz joins Wani for a sultry number written to charm their love interests with vulnerable confessions. Singing “Girl you know I got issues/ And I’ve been trying to reach you” over the drum machine and synth percussion, their unwavering confidence and the pleasant harmonies will convince listeners to nod their heads and tap their feet to the rhythm of the beat.

Kida Kudz – “Jack Jones”

Kida has just released the first freestyle single, “Jack Jones” and he makes sure to deliver some commentary on how lonely self isolation can get, since we’re all in our Jack Jones. His free-flowing lyrics allow him to move fluidly between different topics; from his upbringing in Ibadan to sending threats and bragging about his drip.

The Cavemen – “You Me I”

As the indie band behind Lady Donli’s hit song, “Cash”(which featured Davido on the remix), The Cavemen are quietly becoming a force to reckon with in Nigeria’s alternative music space. Their latest release, “You Me I” is a timely one, where they sing about the power of love during life’s uncertainties.

The song sees them adding an ambient sheen to their nostalgia-inducing highlife harmonies. Coupled with reassuring lyrics, “You don’t have to cry/ Baby you should know it’s alright” amplify the soothing harmonies of the instrumentals and adds to the emotional range of the song.

Straffitti – “Straff From Nigeria”

Since he shared his debut tape, Vanilla Sky EP in 2017, Straffitti has continued crafting his trap sound by putting out new music with relative consistency. His latest release, “Straff From Nigeria” is a bold declaration of his unorthodox gangster raps, as he brags about robbing his dealer over the sinister trap beat produced by Chicken Sauce, GClef and Blueface. The accompanying video further highlights Straffitti’s subject matter, as we watch the digitally altered shots of him.

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ICYMI: DRB tease upcoming album, ‘Pioneers’ with new single, “Softly”

Joeboy is leading the apocalypse in the video for new single, “Call”

Posted on by Damilola Animashaun

After a dominant run in 2019, Joeboy’s 2020 is looking even brighter. The star of Mr Eazi’s imprint, emPawa, which aims to discover the next generation of talent from all over the continent, Joeboy has proven with each release that he’s worthy of our attention, and his latest single, “Call” is no exception.

Following his hit singles, “Baby” & “Beginning”, Joeboy caught the attention of the mainstream with the danceable love songs, which quickly became inescapable on the radio, and a ripe candidate for the Nigerian wedding party scene. With lyrics that capture the innocence of young love and the sting of youthful heartbreak, Joeboy managed to carve his own lane very quickly in the scene. 

Now that he’s gained our attention, he’s ready to cement his position with his latest release, “Call”, the first single off his debut album, which we’ll be getting later on this year. Against a catchy yet mellow Dëra-produced beat, Joeboy maintains his loverboy persona, confessing deep feelings for his lover, promising that he’s only one call away.

In these times, everyone is looking for a bit of comfort, and his reassuring lyrics will warm even the coldest hearts at this point. To suit the song’s subject matter, the TG Omori-directed video presents a dystopian sci-fi love story, where Joeboy saves his lover from an apocalypse.

Speaking to The NATIVE, Joeboy said:

The video is basically about the world ending, and it’s coincidental cause after we shot it in February, it seemed like the real world was ending. My lady gets trapped on the bus by a rebel gang in the middle of the storm, so I had to pull up in a race car to save my girl.

Check it out right here:

 

DJ T1Z & Psycho YP link up for 2 new tracks, “Pay Up” and “Foolish”

Posted on by The Native

For his last album, ‘YPSZN2’, Psycho YP showed his ability to meld his trap sensibilities with commercially viable sounds for a Nigerian audience. However, his latest release, ‘Pay Up, Don’t Be Foolish’ with DJ T1Z, rips off the friendly band-aid as he explores hip-hop’s more extreme, violent and foul-mouthed tendencies to call out people who don’t show him the love he believes he deserves.

On the first track, “Pay Up”, he compares the dissatisfactory love he’s getting from his girl with the feeling that he deserves more respect for his rap skills. The second track, “Foolish (Outstanding Dinner)” has a more ominous grime beat, which encourages his threatening lyrics; “So I don’t know what you’ve done/ But you better go burst your gun/ YP made a banger/ And I’m out here looking for what you’ve done”. Psycho YP has built quite the impressive following for a Nigerian trap artist without a label backing, so we can only imagine what else there is in store for him.

Stream ‘Pay Up, Don’t Be Foolish’ by Psycho YP and DJ T1Z below.

Featured Image Credits: Instagram/psychoyp
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ICYMI: Check out all the essentials from Psycho YP’s ‘YPSZN2’

Listen to DAP’s latest project, ‘Powers, Vol. 1 (EP)’

Posted on by Dennis Ade Peter

DAP the Contract is a man of many talents – an impressive producer, a classically-trained pianist, an exciting rapper and a competent singer. In his releases, he manages to amalgamate of all these facets into his music, which his newly released EP, ‘Powers, Vol. 1’, collects into a terse but striking statement.

The cornerstone for ‘Powers’ is “Heaven”, a 5-year old, two part single that features music on different ends of the spectrum. Both songs in the suite appear at the backend of the new EP, showcasing that DAP has always been a consummate musician. The first of the two parts is mini-opera, with lyrics chanted in Latin by featured singers, Peter Traver, Jordan Schulz and Tasj MelRose. DAP’s steady piano playing, serves as the perfect backing to ensure that the singers’ voices soar and explode accordingly.

 

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On “Heaven, Pt. II”, DAP confidently flips the switch, trading ebullient raps with Nice over piano samples from “Pt. I” and skittering trap drums. Although they rap about their motivation to get to the money, DAP and Nice ground their verses with a sense of self-awareness. “I was born rich, I can’t help that, but I’ll be damned if I sell my soul”, DAP sings on the declarative chorus, maintaining his penchant to throwing in personal truths is an integral part of his ambitious cuts. This is what serves as the linking point between “Heaven” and the three new songs on ‘Powers’.

Since 2015, DAP has dropped music very consistently, through joint ventures like Hi-Lo Jack, and solo projects including his ‘Contract Thursday’ series and his excellent 2018 album, ‘Everybody Falls in the Summer’. Along with tours and live performances, he’s grown into a better-rounded artist, however, ‘Powers’ indicates that DAP is still planning on hitting new levels.

The project has a no frills atmosphere, however, is buoyed by great production and confident raps. “I’m from the city where ain’t nobody give a fuck about anybody else, but I got my trophies on my shelf”, DAP raps over the glittering reverse keys and rolling bounce of opener, “Pray”. Featuring a fabulously rendered verse by Tiago Sta. Cruz, “Rings” is powered by slightly animated piano samples, thumping bass and greasy snares, while the introspection and exuberance on “Lights” is matched by a comparatively solemn bounce.

With ‘Powers, Vol. 1’, DAP connects his past with his present, as a way of plotting toward a future with better music and overall growth.

Listen to ‘Powers Vol. 1’ here.

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ICYMI: DAP THE CONTRACT FEATURED ON DISNEY CHRISTMAS SPECIAL SOUNDTRACK, “BE NICE”

DRB tease upcoming album ‘Pioneers’ with new single, “Softly”

Posted on by The Native

All year, DRB have been teasing the release of their upcoming album, Pioneers, and have now given us another taste of what to expect with new single “Softly”. While each artist in the collective has spent the past few years developing their individual sounds, they have brought all their individual experiences together which is translating into some fire music.

https://www.instagram.com/p/B9sKWAqAqd-/

Last year, they released the Odunsi-assisted “Necessary”, which was good indication of where the project was going, and now their second single, “Softly” definitely sets the tone. Against a mellow beat reminiscent of the SDC-helmed palmwine music, each artist plays their part, whilst serenading a lover against a cool Pheelz-produced beat.

BOJ starts the song with a fantastic verse which will draw listeners in, before he launches into the song’s hook which he kills in his usual fashion. He’s then joined by Fresh L who’s rhythmic flows and signature wordplay ride the pace of the beat perfectly, before Teezee closes our the song with his melodic verse.

While each artist shines, the Pheelz-produced beat definitely steals the show, presenting the perfect backing for DRB to show off their vocal and lyrical dexterity. New music is especially more welcome now, and we’re excited for what’s to come on the rest of Pioneers, after this release.

Listen to “Softly” here:

Mayorkun takes his smash hit, “Geng” around the world on new EP

Posted on by Dennis Ade Peter

One could definitely describe Mayorkun’s “Geng” as afropop’s first smash hit in 2020, and be met with no challenges. The DMW singer started out the year with an absolute thumper, reminding us that he’s with the right squad over Que’s ridiculously bouncy beat.

Shortly after the single’s release, he opened a challenge for other artists to flex on the beat as well, resulting in a long list of entries from mainstream and underground artists alike.

Capping off the freestyle challenge, Mayorkun has just released an EP of “Geng” remixes, with the original song and three other remix, categorised by the location of featured artists.

The ‘Geng’ EP contains a “Naija Remix”, featuring Vector, Ycee, Sinzu and M.I; a pan-African remix, featuring Ghanaian rapper Kwesi Arthur, Tanzanian Rayvanny, Congolose Innoss B, and South African Ricky Rick, before it’s rounded up by the “UK Remix” featuring RussMB and Ms Banks.

With this new pack of remixes, Mayorkun capitalises on the far-reaching impact of the smash hit, while also smartly extending the song’s current run on top of the afropop zeitgeist.

Stream the ‘Geng’ EP here.

Featured Image Credits: YouTube/Davido

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

ICYMI: WATCH MAYORKUN CELEBRATE WOMEN IN THE MUSIC VIDEO “UP TO SOMETHING”

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

Posted on by Tami Makinde

“I’m championing any and every woman in the industry because we all know how it be. Yeah that may be cliché, but we can’t deny that the industry is unkind to  us girls. So I’m definitely supporting every one of us!”

For as long as we’ve known music, there have been female artists who prove time and time again that they are just as capable as their male counterparts, however, they’re not always given their fair due. Today, it would seem novel when a female artist, especially a rapper, seemingly blows up even though we’ve always had them around from Eve & Missy Elliot to Weird MC to Sasha P.

Women like Megan Thee Stallion, Tierra Whack, Shaybo and more, are currently holding it down for women in rap worldwide, showing their capability and also that there’s room for more than one at a time. For the continent, where we’re still embracing the rap scene as a whole, rappers like Ghana’s Ms Fu are extremely important to the cause.

 

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Born Afua Asiedu, the self-taught rapper is a your typical girls girl, who is determined to champion any and every woman in the industry because “we all know how it be”. She is a firm believer that it’s fatuous to say that there isn’t a strong imbalance in the music industry when it comes to the success and visibility of female MCs, because there just clearly is.

She first gained our attention with her verse Ko-jo Cue’s 2019 track “From My Sisters” which showed her commitment to fighting for women’s place in society. Just before she spits bars which call out men for repeating toxic patterns of their predecessors, she says: ‘Because tomorrow’s for the daughters, they need better you know/I pray your little girl never meets this ugly world’.

Her verse serves as a reminder that there is still so much work to be done in society, and the fight for a greater good is bigger is than each person’s personal progress. Despite this, Ms Fu didn’t actually like her verse on the track. In fact, she reveals to me that she reached out to Ko-jo Cue and offered to re-do the verse because she kept doubting whether her message was clear enough.

“I tried to be intentional, I had to make sure that whoever is listening gets it. I feel like I am more intentional in my storytelling these days–or maybe I’m being fussy. But I like song for its message and its positioning, Ko-jo’s album was really his personal message to the guys so to have this really strong feminist message right in the middle of that is exactly what we need more of”. 

We are trying to get to a point where female rappers are not boxed into certain categories based on their gender but simply referred to as plain ol’ rappers who are just as able to spit the same kind of bars as men. Women who have dared to talk their shit with the pomp and assurance men would, have been met with unfavourable reception, which makes it all the more important for women like Fu to exist today.

Last year when she tasked herself to weekly Thursday drops, she was able to experiment and develop her sound, giving listeners a taste of everything from the more heavy bass-drop on “Energy” to mellow, slow and vulnerable tracks like “Love”. She’s also dabbled at highly provocative sexually-charged bars when she linked up with Hajja Kitty (now Ria Boss) on “Make War” where they both put women on top and call out the fake bravado of masculinity.

Much like many musicians, her aim is for her music to evoke some kind of emotion in her listeners, in order for her to share the release she feels from making it. This is what drives her to be intentional about the subject matter, and perfect her skills as a rapper who is aiming to break the chain for other women.

“When I started listening to music, what stuck with me was how you could find relief in it, like you could just play a song and just relate to it so well. I don’t really have much but to share that feeling with someone else.”

This vulnerability and attention to detail is what has built her loyal fanbase, who can relate deeply with the sentiments she expresses, and this is particularly important for an African woman like herself, who didn’t have these influences growing up. The world is becoming more receptive to women who rap, thanks to the likes of Megan Thee Stallion, Cardi B, Tierra Whack, whilst over here, we would struggle to name as many women.

In this part of the world, hip-hop/rap has been known not to enjoy as much commercial success as other genres, and is still seen as a niche. Where indigenous rappers who were also considered as their own niche have broken into the mainstream successfully, female rappers are still being let into the space, and this is what we need voices like Ms Fu’s for.

Where men inspire each other with their grass to grace stories after they’ve made it out of the trenches and overcome the toil of their past lives, what women can do for each other, is to share similar experiences for a shift of consciousness. Institutions like #MeToo have changed the way society views sexual assault, and have also ensured that perpetrators don’t get away with their behaviour. Similarly, Ms Fu want to ensure that she’s creating a safe space for women like her all over Africa through her music.

She feels that international acclaim is all well and good, but only if you still have a genuine connection to your base at home. Hers is a very important part of who she is as an artist, as she feels that growing up with separated parents quickly led to her develop tough skin. She grew up with her dad, who introduced her to reggae and her uncle who introduced her to hip hop with artists like Dr Dre, Eminem, opening up a whole new world to Afua, and forming her early influences. This was how she knew she could be a lover and creator of different genres.

The 28-year old artist has had a long time to experiment with her sounds and perfect her craft but is still aiming to get to the best version of herself by continuously developing her craft. According to her, “A bitch has things to do and there’s foundations to build so she can hold herself down, you know?”

And boy do we know.

Featured image credits/msfu

Tami is a lover of women, music and astrology. Tweet your fave female artistes at her @tamimak_

ICYMI: Ictooicy uses music to keep herself in check

GMK and Tomi Thomas pen a love letter to the city on new collaboration “Lagos (Everyday)”

Posted on by Tami Makinde

GMK already started 2020 on a memorable note when he reunited  Prettyboy D-O & Sugabana for his catchy single “Strong & Solid” . Unfortunately, unlike GMK, the world didn’t follow suit, and for his second single “Lagos (Everyday)”, GMK switches the hard-hitting bass for a more mellow, guitar-led beat, which makes for the perfect backdrop for Tomi Thomas’ rich and spiritual vocals.

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Tomi Thomas starts the track off singing ‘All you need is love’, before he launches into a love letter about Lagos being filled with hustlers and go-getters determined to find their next big break. ‘Lagos na barracks, Lagos na home’ he sings, determined to make the most out of this crazy city which seems to drain the dreams and expectations of her inhabitants.

On this track, he preaches the message of love and perseverance, as a way to remind us all of the city’s resilience, and how we manage to make it work for us even when it’s tough.

As we all get settled into the new normal and observe the mandatory lockdown, we’re all missing it outside, even though we hate it so much when it’s available to us. Many artists are using this time to keep their art and music alive by penning reflective numbers which will resonate with anyone who is listening and going through the same things.

Listen to “Lagos (Everyday)” below.

Featured image credits/instagram

Tami is a lover of women, music and astrology. Tweet your fave female artistes at her @tamimak_

ICYMI: Odunsi the Engine and Tems’ single “Decided” is the perfect song for self-reflection

We spoke to a few people about living with their parents during the lockdown

Posted on by Tami Makinde

This time last month, we were probably all going about our lives like normal, before WHO declared COVID-19 as a global pandemic. The world has become a completely different place and the lockdown has led to swift and unwelcome changes to every aspect of human life as we knew it. While we appreciate that this discomfort is a lot better than everyone dying, we still hate it here.

Where typically, retiring to your home at the end of a long day served an escape from adult woes, some of our homes have now become a stressor. Living in such close quarters with our parents and seeing a lot of more of them than we usually would can be a bit overwhelming, and some aren’t coping as well with it. We all love our parents, but we also know how African parents struggle with boundaries even when their children are grown ass adults.

 

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African parents don’t really understand that even though we are their children, we are no longer children and they can’t treat us as such anymore. Boomers unlike millennials and Gen Zers aren’t quite so malleable, and are often set in their ways with no intention to shift or adjust to other people’s wants or expectations.

As a result, interacting with them for long periods can bring about some tension, where they try an assert their authority in ways they did when we were children, but are met with very different reactions. These times can also take us back to when we felt helpless as children, and our voices were often stifled by their authority.

A lot of built up resentment could be resurfacing right now for most people, so in a bid to show that we’re really all in this together, The NATIVE spoke to a couple of millennial and Gen Z Nigerians, who are social distancing at home with their Nigerian parents.

Whilst some haven’t really been bothered by their parents (are they angels and where did you get them from?) many aren’t quite having such a smooth sail. From getting caught smoking weed to getting ‘the talk’ after being caught taking nudes, here’s how people are coping at home with their parents:

My mum actually caught me smoking during the lockdown. She tried to open my locked door, and when I let her in she goes “why does it smell like weed in there?”. Obviously we denied but then she was like “ok I’m leaving when you’re ready to say the truth come to my room”. Luckily she wasn’t harsh or judgmental about it,  she was just like we should stop and was unwilling to hear anything else.

A, 20, F.

Being in lockdown has made me realise how little respect parents have for their children and how they view us as accessories. My mum threatened to lock me out of the house and I was so confused cause I don’t understand why she thinks she has more authority over our family home than I do. I’m a member of the family and it’s my house too. Plus where the hell am I supposed to go?

F, 25, F.

My house can be very routine, I wake up everyday by 8/9am and do some house chores. I do most of my own leisure at night between 9pm-2am. That’s the part of my day I look forward to and it gets me in a good mood for tomorrow. I can watch anime, play games, FaceTime friends or just listen to music to relax. For me, the few extended hours of the day that you can spend by yourself, for yourself shouldn’t be overly serious. Have fun, relish it even though it might seem small or normal.

D, 23, M.

I live with my mum. I limit our exchange to morning pleasantries and getting her morning tea. My mum kind of had to respect my boundaries because we had a huge argument where I mentioned how uncomfortable and overbearing it was becoming . It might not have been in the best words but I think she got the memo cause she just lets me be now.

A, 22, F.

My mom is actually a handful lmao. Sometimes, I feel like the babe is so obsessed with me. Every second she shouts my name and when I respond, it’s always to show me one razz thing on Instagram that she thinks is funny. She’s so bored & she misses her friends so I honestly get it. I’m not the only child, I have my brothers but my older brother goes to work and my room is the closest to hers so I’m the obvious target.

M, 22, F.

My parents tried to run this idea of us saying the rosary daily at 8pm. I said I wasn’t interested and my dad said that it’s his house and it’s compulsory and that I should go to my husband’s house if I wasn’t willing to participate. But like we only did it once and they didn’t even enforce it after. Apart from that I just keep my distance.

S, 24, F.

For me, it’s been the whole church thing. At first, I joined because I was asked. But then it got too much, my mum’s church started doing a fast every day coupled with services and she still wanted me to attend. That’s where I had to put my foot down, and had a conversation with her that I won’t be attending the online services with her all the time. She first put up a front and was upset I didn’t see that the pandemic was a direct result of a spiritual battle, then she got the memo and left me alone. I only attend when I feel like it, which is rarely.

T, 26, M.

My dad walked into my room while I was taking nudes, now while that was so embarrassing for the both of us. It has actually opened a channel for honest conversations on body positivity, sex work and practising safe sex. I think my parents realise I’m an adult now, I ‘m very impressed.

G, 24, F.

Featured image credits/runtown

Tami is a lover of women, music and astrology. Tweet your fave female artistes at her @tamimak_

ICYMI: Here’s what young Nigerians are doing to take the edge off in these uncertain times

Listen to NATIVE-curated playlists on your favourite streaming services

Posted on by Damilola Animashaun

Over the past few years, The NATIVE has been dedicated to highlighting the best music from all over the continent, and continue in our mission to do so. We’re all experiencing a very strange time, and we’ve all been forced to slow down and focus on what’s really important.

It will come as no shock that music is particularly important at this time, as it’s giving both artists and listeners an escape from the gloomy tone of the world right now. Music is keeping everyone going and has proven to be the perfect cure for the cabin fever we’re all feeling in lockdown.

A year int0 our launch in 2016, Apple Music reached out to us to start a curator page – bringing our editorial mantra of “Ears To The Ground” direct to streaming platforms. This birthed columns and playlists we became known for, such as The Bumplist and Welcome 2 GQOM. Since then, the streaming/playlist landscape has changed drastically, with playlists becoming the currency for music placement. Too many playlists are either the same things you hear everyday, or formulated by some computer. We decided to take a step back to re-strategise on how to bring you the best new music, that we actually fuck with, every week. We wanted to find a way to create truly unique listening experiences, rooted in music discovery.

So today, we’re pleased to relaunch our curator pages on Apple Music & Spotify, where we’ll be starting off with 3 original playlists, curated by The NATIVE Family: Harmattan, NATIVE Sound and Fresh Meat.

Harmattan

Transatlantic mood music, from Scarborough to Magodo, and everywhere in between. Expect to hear everything from Jai Paul to Amaarae, to get you right in the zone. Curated by NATIVE Co-Founder and half of NATIVE Sound System, Addy Edgal. Listen here: Apple Music, Spotify.

NATIVE Sound

A multi-genre playlist rooted in music discovery, NATIVE Sound is the best new music we are listening to, with an emphasis on sounds from the continent. This week’s cover is Odunsi The Engine. Listen here: Apple Music, Spotify

FRESH MEAT

Last month, we debuted our titular monthly list of young artists who we think are worthy of everyone’s attention at the moment. The quiet time before an artist blows up is getting shorter these days, and any of these artists could become the next big thing. You don’t want to miss out. This week’s cover is Abuja-based singer, Emosé. Listen here: Apple Music, Spotify.

The Shuffle: William Onyeabor’s electronic-funk hit, “Good Name” as a moral compass

Posted on by The Native

William Onyeabor was one of the biggest contributors to Nigeria’s innovative music scene in the ’70s and ’80s. Much like Fela, King Sunny Ade, The Lijadu Sisters and other icons from that golden era did, he explored influences from all over the world and managed to mix them with traditional sounds to make some incredible fusions. William Onyeabor’s music stood out for his psychedelic-funk jams, which were driven by the sound of analog synthesisers which weren’t quite so common place at the time.

The Shuffle: William Onyeabor's electronic-funk hit, "Good Name" as a moral compass - The Native

After 8 albums between 1977 and 1985, William Onyeabor found Christianity and severed his ties with secular music, however, songs like “Good Name” point to him being in touch with a moral compass from jump. Onyeabor definitely had a good name in the industry, and his reputation as an artist was fostered by his wealth and access to cutting-edge studio equipment for the time.

On the track, which would still slap in the club today, he drives the message that “Good name is better than silver and gold/ And no money can buy good name”. He’s telling listeners that money can’t buy you fame or acclaim, and by showing off his sonic range, with a mix of electronic percussion, sputtering drum machines and wild guitars, he’s telling people how he got his own fame and acclaim.

We might have lost the legend, but he’s been immortalised with songs like this, which still applies to the state of the music industry today. From people having it in for Burna Boy thanks to his perceived arrogance, to people ascribing Davido’s success to his wealthy background, the message of “Good Name” still reigns true to modern Nigerian society.

 

At the end of the day, there’s no way to deny one’s talent when it’s glaring, and these artists still being around are proof of the song’s main message. Last week, the internet had at Burna Boy, after a series of tweets which fed the trolls with more to say about him, and he decided to cut off social media when he got bashed for tweeting his opinion about Reekado Banks’ music.

The damage to his ‘good name’ was quickly rectified later on, Leriq and Chopstix played the hits they produced from Burna Boy’s catalog and snippets from his upcoming single, “Twice as Tall” single on Instagram live. The same way the haters will always have something to say, the music will continue to slap.

Listen to William Onyeabor’s “Good Name” below.

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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Remebering “Shake Hands” by legendary soul singer, Geraldo Pino

Songs of the day: New music from Good Girl L.A, Sakordie, Peruzzi, Champagne69 & others

Posted on by The Native

Music has become increasingly important in the last month, and the constant cycle can mean that you miss some of the new music coming out of Africa. As the music scene grows more and more expansive, we’ve decided to help out, by sorting through all the new songs from across all the sub-genres around the continent to curate a column with all the best “Songs of the Day”, to highlight all the new releases you absolutely Need to hear.

If the ‘Rona has taught us anything, it’s that music is very important to everyone right now, and artists are doing their fair bit to keep us going. On Monday, we brought you new releases by a diverse set of artists, including Lil Frosh, Mayorkun, Ka$hlanta, David Meli, DedeJae, SOLIS, Ictooicy, Eri Ife, Efe Oraka and more. Today, we have new releases to add to your playlists from South African rap duo, Champagne69, Ghanaian rapper, Sarkodie, GoodGirl LA, The Black Esper and Tenola, Phyno, Laime, Buju and BadBoy Timz. Enjoy.

Champagne69 – “15 Goons”

South African hip-hop duo, Champagne69 just released their first song of the year, “15 Goons”, which finds them paying tribute to their gang.  Against NotBenjamin and Ezechiel(SorryZeke)’s beat, they rap; “15 goons/ I ain’t got no problems but my niggas do”, making clear to their opps that they are protected. The accompanying video for “15 Goons” captures them in black and white frames that match their menacing lyrics as we see Williestilios and Siyangena69 walking through the streets with enough goons to fill up the road.

Sarkodie – “Sub Zero”

Sarkodie is tired of being disrespect by his peers, especially after last year’s BET Hip Hop Awards win for “Best International Flow”, and to prove it futher, he’s just released a diss track, “Sub Zero”, aimed at rappers who refuse to acknowledge his greatness.

Over the Altra Nova-produced beat, he reminds everyone that “Ain’t nobody better than Orbidi/They said I couldn’t do it but I did it/ This is for the mudafucking critics/ rapper-holic but I sold all the tickets” as he raps in his signature fast-paced flow and mix of English and Twi lyrics. Though he doesn’t call anyone out, “Sub Zero” seems like a stray bullet to warn everyone and possibly incite a full on rap battle or war.

GoodGirl LA – “Jeje”

GoodGirl LA has released a new single, “Jeje”, her second single release since her EP debut, ‘LA Confidential’. While her lyrics, “I’ll make you feel alright/ Cause when I dey with you na confirm/ Nobody makes me feel this way” continues building her discography with romance inclined themes, the Priimebeatz-produced highlife beat with wistful guitar harmonies provide a new groove for fans to dance to.

The Black Esper – “Mr Right” Feat. Tenola

The Black Esper and Tenola’s new collaboration, “Mr Right” unravels like a story that shows how love isn’t always as straightforward as we’d like. While The Black Esper raps and sings about his confident feeling that he’s the right man for his love interest, Tenola responds with a verse that trashes his feelings singing; “I’m not down for you at all/ You were just for that time/ You’re not my  Mr right”. “Mr Right” captures the heartbreaking story of guys who fall in love too quickly while the lightweight backing beat will get you on your feet.

Laime – “Oga Boss” Feat. Buju and Badboy Timz

Laime teamed up with Afropop singers, Buju and Badboy Timz for his new single, “Oga Boss”. The trap beat produced by Telz allows the singers show their versatile as they tap into their rap influences to deliver cocky bars over the lush production which set a laidback mood through relaxing percussion, flute samples, synth harmonies, 808s and bass drums. All three artists brag about their flamboyant lifestyles as they flex their talent, wealth and gang affiliations at an “Oga Boss” that is meant to represent anyone that underestimates them.

Peruzzi – “Reason” Feat. Not3s

It’s nice to know that the harmonious relationship between Nigeria and the UK is still striving despite the ‘Rona. Peruzzi just released his 3-track tape, ‘3’ a romance filled testament of the DMW singer’s ear for catchy melodies. The last track, “Reason” features Not3s’ melodic cadence as the British rapper joins Peruzzi to deliver lines written to charm their way in their love interest’s hearts; “Girl you be my type and I be your type”. Their sweetly melodic voices are convincing, and are complimented perfectly by the backing  Speroachbeats.

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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: See the video for GoodGirl LA’s breakout single, “Faraway”

Essentials: Young T & Bugsey’s debut mixtape, ‘Plead The 5th’ is filled with catchy bangers

Posted on by Dennis Ade Peter

Even though we’re currently living in a solemn time, the world still needs its hits. “Don’t Rush”, the catchy banger by British duo Young T & Bugsey, has been inescapable since becoming the official soundtrack to, perhaps, the greatest TikTok challenge to takeover social media. It’s easy to see why it is the perfect companion for women blessing us with their before-and-after beauty: The song sounds like getting ready for, and enjoying, a night of unbounded fun—you know, something that could have happened in reality only a few weeks ago.

Well, the good news is, whether we get to hit the streets soon or have to continue partying virtually, Young T & Bugsey have packed their recently released debut mixtape, ‘Plead The 5th’, with more feel-good bangers. It’s is the work of two rap artists with incredible pop sensibilities, the type of summer-ready tape where you could pick out the next potentially big single by doing a blind raffle of its song titles.

The project had been a long time coming, serves as proof that they don’t want to be rushed. As far back as 2016, the duo scored their first hits, “Glistening” and “No Mickey Mouse Ting”, filling up the following years with follow-up singles and collaborations, all of which culminate into the refined abilities they put on display for their debut.

Across the project, there are occasional references to their gritty past, however, majority of the music is geared towards to head-bobbing, shoulder swaying and full-bodied dances. It’s crafted in such a way that more that half the songs are perfect for playlists like Apple Music’s ‘It’s Lit’, but none of them come off as contrived. The songwriting prioritises unforgettable hooks, which start and end every song, and range from bold to sleek.

With this song structure, their verses are allowed a high level of looseness. This means we get a lot of brags that aren’t always too imaginative, but very quotable and Instagram caption ready. On the first verse of “Bully Beef”, the duo play off each other, describing their flashy lifestyle of Audemars Piguet watches, AMG cars and Fendi loafers. Featured artist, Fredo follows in the same steps, spitting notable boasts like, “Dripping hard, find me a napkin”.

Although most of the songs on ‘Plead The 5th’ rethread familiar themes, the melodic variety and range of delivery keeps things from getting anywhere near stale. The consistently bright production also helps. Even with eight producers behind the boards across its twelve tracks, the beats all move in lockstep with the duo’s cheer-inducing atmosphere.

There’s impressive, maximalist moments, like the intro track “School Trip”, which contains its fair share of sweeping piano strings, and the Aitch-assisted lead single, “Strike a Pose”, where a whirring rhythm section is matched by a ‘Country Grammar’-type bounce. The minimalist cuts are also just as colourful: Jae5 laces “Madonna” with pretty piano loops and a languid percussion groove, while a glistening piano sequence drives the P2J-produced “Stand up Man”.

Young T also picks up a sole production credit, on “Energy”, the most personal moment on the tape. Over a wispy piano riff and gently thudding drums, both rappers count their blessings and reminisce on the days when they had to resort to desperate measures. It’s three minutes of honest reflection that adds an endearing layer of validation to the overtly celebratory tone of the project. What ‘Plead The 5th’ may lack in more affecting stories like “Energy”, it makes up for with a strong identity and impressive craft, resulting in an outstanding debut with a lot of replay value.

Listen to ‘Plead The 5th’ here.

Featured Image Credits: Instagram/youngtandbugsey

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

ICYMI: SKEPTA, CHIP AND YOUNG ADZ TEAM UP FOR ASSERTIVE NEW ALBUM, ‘INSOMNIA’

Exploring the futuristic mind of Nigerian-Guyanese director, Chelsea Odufu

Posted on by Tami Makinde

Globalisation has made the entire world more accessible, and over the last few years, the need for authentic African stories has become more and more apparent. Science fiction isn’t typically inclusive of African stories, however, more recently, stories like Tomi Adeyemi’s ‘The Children of Blood and Bone’ and Marvel’s ‘The Black Panther’ seek to delve into themes of afro-futurism, by exploring African stories within the science fiction scope.

Born in America to Nigerian-Guyanese parents, indie filmmaker, Chelsea Odufu has always been fascinated with merging her experience as a black woman in the diaspora with her passion for spirituality and afro-futurism. Her most recent award-winning film ‘Ori Inu: In Search of Self’ was written and co-produced alongside her brother. Inspired by the Black Arts Movement of the 1960s, the two set out to remove negative stigmas placed on traditional African religions, and critique ideas of cultural and religious supremacy.

Speaking about what inspires her work, Odufu said:

The work I create fuses my love for afro-futurism, folklore stories, activism, and fashion to create a more meaningful representation of Africans in the diaspora. Afro-futurism allows me to break rules as a Black storyteller while unraveling rejected African histories, American history books don’t mention. I also think spirituality is central to my work because a journey in search of self is ultimately a spiritual one and my work reflects that.

We get to see more of this in her upcoming television series, ‘The Black Lady Goddess’ which will focus on similar themes of spirituality, freedom, womanhood and afro futurism. The series is set in the year 2040, and will follow the story of activist, Ifeoma Washington who is living in a time when humans have discovered that God is a black woman. In her story, reparations have been made in the amount of $455,000, and each person of African descent has received this money from the government.

The first season will follow the aftermath of this, as the new God is aiming to end the millennia of white supremacy, serving as a pillar of strength to women and people of colour around the world. The world seems to be on pause since the ‘rona reared her ugly head, and Chelsea’s upcoming series seems very fitting to our current reality. While taking some time out for herself, we were able to grab her for a quick chat ahead of the season premiere, where she talks all things from her experience working on under legendary film director, Spike Lee straight out of university to her passion for telling African stories from a futuristic perspective.

NATIVE: How did you arrive at God being a black woman in ‘Black Lady Goddess’?

CHELSEA: Several things moved me to tell this story, so it’s always hard for me to answer that question. I initially was compelled to create ‘Black Lady Goddess’ due to my frustration with cultural appropriation, an experimental piece that allowed me to put my frustrations into a conversation. I knew that I wanted the scenario to take place out of this galaxy and wanted God to be an African woman.

The project was my way of creating my own Black mythology, and it also spoke to my belief that Black people are descendants of the original man therefore we can not be cultural appropriators. After working on this idea for about two years my brother suggested I include a reparations plotline into the story which has brought it to where the story is now.  

NATIVE: What would you say was the most difficult part of bringing this idea to life?

CHELSEA: The most difficult part was achieving high-quality visual effects with a minimal budget. This project was extremely CGI heavy so creating an alternate galaxy for ‘Black Lady Goddess’ was a challenge. Not only did I experience a learning curve but it was an extremely expensive part of the production that took us almost four years to figure out. 

 

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NATIVE: In what ways does your work as a digital nomad feed into your career as a director? 

CHELSEA: I think the biggest challenge when pursuing your dreams is being able to stay motivated and inspired. Once you lose the passion you lose your drive. Traveling for me is what fuels my creative spirit and allows me to connect to cultures in ways that inform the experiences I look to showcase. I rarely travel for just leisure and always find a way to leverage a creative opportunity for myself while I’m on the road. Some of my travels have allowed me find investors that invested in my film projects, some of my travels have allowed me to create content that expanded my portfolio in ways that I attracted future opportunities. Being a digital nomad makes me a better storyteller which makes me a better director. 

NATIVE: You mentioned this show is heavily inspired by the Mali tribe, what in particular drew you to this culture?

CHELSEA: Well, the Dogan tribe in Mali has a fascinating creation narrative, unlike anything I have learned about. They believe they have already met their creators in outer space who come from the Sirus B star and passed along information about the formation of the atom and that the Sirus B star has a clone and dwarf star. NASA was fascinated with the fact the Dogans knew this complicated information before the development of the telescope. My research on this tribe led me to creatively consider the way humanity was created outside of a Christian lens for the purposes of this show. 

NATIVE: It seems like you’re creating your own world in this new show, how much of it is based on personal experiences?

CHELSEA: World building is always a challenge so I definitely approached it as history repeating itself to help me envision the future. Allowing my mind to break rules and reconstruct a whole new reality definitely took time. My personal experiences often shine through in my characters. My protagonist Ifeoma is inspired by me, she has my middle name and many qualities both good things and flaws. In addition to my protagonist, many of my characters are direct representations of people in my life. I know my friends sometimes hate that haha! 

 

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NATIVE: How are you spending your time nowadays with everything going on in the world? How do you keep your art alive in these times?

CHELSEA: Ahh, I’m trying my best to stay safe and sane. I think this social distancing/quarantine time is the perfect moment for self-reflection so I have been doing a lot of that. Really trying to prioritise what’s important to me, the life I want to live and how I will adjust my strategy to achieve what I want in life. I think it’s the perfect time for people to pour into their spiritual cup and connect with God. 

Trying to keep my art alive in these times has been a process but, I am doing best to stay productive. Every day I try to send out emails, work on outstanding edits, develop video treatments, or flush out my production bible. More importantly, though I am allowing myself to be still which is nearly impossible for me when life is moving. 

NATIVE: What are your plans for the future?

CHELSEA: God willing once this pandemic passes I hope to be back on road; directing other people’s films or commercials globally while working to get ‘Black Lady Goddess’ developed by a studio or production company. I am also interested in spending a lot more time in Los Angeles and Lagos moving and shaking between both of those industries. 

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Tami is a lover of astrology, music and women. Tweet your fave female artistes at her @tamimak_

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NATIVE Exclusive: Ictooicy uses music to keep herself in check

Posted on by The Native

“I know that if I make music about how I feel, there will be people who are going through the same thing and they’d understand what I’m saying. That’s all it is; people understanding you and feeling what you’re going through.”

Born Ifeanyi Chuku, the only child of music-loving parents, 18-year-old Ictooicy is turning the angst of her teenage years into music. The result of this, is a discography filled with very sad lo-fi ballads of relationship woes and a small but fiercely loyal fanbase, who appreciates the vulnerability that comes with her DIY sound.

Her last project, ‘Sorry I Don’t Like Phone Calls’ peaked at the #3 spot on Apple Music’s Alternative Album chart, and showed how she has built a powerful emotional connection with her listeners without needing any backing so far. Thanks to technological advancement, artists publishing their music by themselves has allowed Nigerians develop more diverse music tastes. Artists like Tems and Santi are emerging in the mainstream with their different unique styles and this, in turn, has fuelled the indie music scene as we have more artists that are unafraid to experiment with different niche sounds.

Ictooicy started out as a rapper but soon decided she was more than just that, and proceeded to update her SoundCloud with a new bio that read; “Not A Rapper, Just A Poet With A Flow”. Her consistent stream of music releases since she started out in 2017 has seen her grow a more confident voice, which gives her room to experiment with different sounds and speak on her struggle with mental health as she did on “Guava Juice”.

“I think I recorded my first song in 2017.  I’ve grown a lot since then, I was trying to do stuff I felt like people would want to hear, but now I’m just doing my own thing.

I also write a lot better than I did before. With life experiences, changes and discovering who I really am, I think it has added to the substance of my music now.”

Growing up with musical parents, Icy also benefits from having her parents’ support. They encouraged her to find her voice and express herself through song, which also had an undeniable effect on her confidence and self-assuredness. She tells us: “I used to just do hella rap before cause I didn’t think I was good enough to sing until my mom sat me down and told me I could do both.”

From speaking to her, you can tell that music comes naturally to Ictooicy. Her parents’ love for music was passed on to her really early on, and she tells us her mum used to play music to her while she was in the womb. Her dad also made sure to expose her to all types of music, from rock, classic, jazz etc. However, she doesn’t believe she was pushed to choose music as a career. Though they had tried to get her to learn to play the keyboard, she stopped playing because it felt forced and she quickly lost interest. Her interest in music has grown even more personal to her, and she now takes inspiration from new-generation artists whose reality she can relate with.

“My number 1 inspiration from my hair down to everything is Jaden Smith. I’m a die-hard Jaden Smith fan. I listen to him and I want to go make music, that’s how it is. Clairo also inspires me a lot, I listen to a lot of her music and she has an influence on the sounds that I create. I’ve also been listening to a lot of Michael Franks cause I’m trying to get into my Jazz elements as well.”

Just as these artists speak to specific emotions and scenarios that she can relate to, Ictooicy makes music about her own reality and boldly expresses her vulnerable emotions on her songs. This is what has built her loyal fanbase, who can relate deeply with the sentiments she expresses. This is particularly important for young Nigerian/African women like her, who typically didn’t have artists like her on the scene in their formative years.

Especially in times like this, the importance of music is becoming even more apparent, as people are looking for familiar grounding with song. The same way Icy makes music to release the tension in her mind, listeners who her lyrics resonate with can also find escape in her music.

“I think for me, making music is my escape when I’m happy or sad. I make music to make me feel better about certain things and make other people feel like they can relate with it and it genuinely clicks with them if they like it. There’s always some shit happening. There’s always stuff to be upset about. I’m not afraid because we’re all humans, we’re all vulnerable at some point.”


You’ll find this to be the case with a lot of the best musicians out there right now, from Tems to Megan Thee Stallion, who have eyes on them because they are the current voice for women in their respective areas. Though the powerful exchange of emotional understanding that plays out between her and her audience hasn’t translated to mainstream appeal or a large following quite yet, Ictooicy appreciates what she has and recognises that it’s special.

“I mean obviously there are some people who don’t like it but you can’t please everybody. I wish I could thank everybody who ever streamed music, it makes me feel warm inside. Lately, it has been getting a lot which is overwhelming in a good way. It’s amazing.

I wish mainstream audiences will pay more attention to my sound but at the same time, I know that my music caters to a certain niche audience.”

Ictooicy has kept her music genderless by not mentioning pronouns “he” or “her” through her entire catalogue. While she expects that this will allow her music to be relatable for more people, her effort at being progressive is lost on Nigerian music audiences. Yet, it’s that exact type of forward-thinking practise that defines the new generation of Nigerian artists; thoughtful, optimistic and unafraid to experiment. At the moment, the 18-year-old artist is at the midpoint between stardom and obscurity and she’s taking advantage of the current lockdown to work on her upcoming project which she’s really excited for.

It’s clear that a lot more people can relate to that same feeling of sadness from not having anything to distract you from your innermost thoughts. Ictooicy already built her reputation as an empath whose voice exudes a quiet warmth and intimacy that makes her the perfect candidate to compose the soundtrack to everyone’s bedroom blues.

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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Ictooicy’s ‘Sorry I Don’t Like Phone Calls’ breaks Nigerians music streaming charts