For the Girls: How multi-faceted artist, AMKMQ is redefining purity politics for West African women

Posted on by Tami Makinde

Born Ann-Maree Quaynor, AMKMQ has been drawing, painting and creating for as long as she can remember, however, it wasn’t until she turned 19, that the young multi-faceted artist, decided to take her visual art seriously as a professional career. “I grew up not speaking very much, I was a very visual thinker and I would voice everything I wanted to say out loud through painting and drawing. When I would upset anyone, I would apologise through a painting” she reveals to me over a late-night FaceTime call, while she was getting ready for bed.

Like many other African creatives, choosing art as a career meant upsetting her African parents who had a grand plan for her to  attend impressive universities, however, after a year at the University of Warwick studying Sociology, AMKMQ came to find that she was nothing if she wasn’t creating. Following this, she had to compromise by promising to attend an Ivy League college that would merge both a commercial career and an art one.

“I realised I was unhappy at Warwick, I didn’t really feel like myself. I would see my friends at schools like Central Saint Martins and would go back to school and feel empty. I knew my parents would only let me go to art school if it was attached to an Ivy League school. I actually grew up reciting all the Ivy League schools, and have been prepared from birth to go to one. I went to Warwick because my dad did not let me go to Berklee when I got accepted”

Now a student at the Brown University and the Rhode Island School of Design, AMKMQ is finally at a point in her life where she is producing art in different forms: from creating zines with her bestie & engaging in performance art, to exploring videography & even trying a hand at DJ’ing during this quarantine period. The girl has done it all, and done it all by herself too, so now, she’s ready to take up space in the art industry unapologetically.

 

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Her work spans across different themes, which she has named herself with the most noteworthy one being, Purity Politics. In this  side of her art, she explores themes of feminism, choice and purity in relation to her experience as a West African woman. Growing up all around the world, AMKMQ is always constantly searching for herself in her art. She was born in America and raised in England & Nigeria to Ghanaian parents, which made the concept of home incredibly difficult to attain.

“I was bullied quite a lot growing up because of my accent, it was like when I was in Nigeria, people saw me as Ghanaian but when I’m in Ghana, then I’m Nigerian and when I’m abroad, I’m a black woman”.

It wasn’t all bad though, her upbringing also sparked her interest in the colonial history of both Nigeria and Ghana. Led by her rage towards the injustice and the erasure of our culture, she became very preoccupied in creating art about a  version of herself and of her people which could have existed if we were not colonised. The helplessness from feeling like she can’t change the past, actually gave birth to her love for afro-futurism, which allows her to explore a future that is incredibly diverse and open to her own interpretation.

“When you are trying to find history about Ghana or Nigeria, it’s mostly colonial writers or English writers and that’s just one side of a bigger story that’s now been erased. This is what led me to afro-futurism. If I can’t change the past and the present is not really entirely me, then I can dream about creating the future I want through my art”

A running theme in AMKMQ’s work is the use of her body as a medium to create art. Growing up, she attended predominantly white schools, where there were no black female references she could admire or look up to. Her style also irked her mother, who believed in the traditional forms of femininity, and didn’t approve of the way AMKMQ liked to dress. However, AMKMQ would find support in her parents over the years as they would support and fund her art career by paying for supplies and also introducing her to people they knew in the art world. The unwavering acceptance and love from her parents plays a strong pat in AMKMQ’s confidence today, as she speaks so highly of their support.

This feeds into her Platonian philosophical outlook of life where belief in duality and the ability to detach from our physical bodies is possible; as the body or objects become tools through which art is brought to life, which is explained in her short film, ‘Purity Politics’. 

As you’ll find in any aspect of life, the 21 year old has already had her fair share of men being out to silence her. When she was 16, a distant male friend stole one of her artworks, passed it off as his own and auction it out for £2000. This really enraged her, and fuelled her drive to create everything in her own way, and on her own terms. “I love teaching myself to do things, it’s like crack” she reveals with a laugh. “Everything I do now I taught myself because it’s just fun to learn and it’s nice as a woman to say, I did that myself because men will try to claim your work”.

AMKMQ has tried her hand at a number of things, but her main love at the moment is videography and collating zines under the moniker ‘AVOCADHOES’ with her best friend, Ayo Sule. She’s always wanted to be a director, and happily runs through a list of her film influences from Gasper Noe to Tarantino.

“I like art and cinema that feels situational, when you experience the moments with the people in the film. My work a lot of the time is about evoking emotion rather than showing it. That’s what I’m really trying to build up now with my video work, videos that evoke emotion from anyone who watches”.

For her, she doesn’t think she needs to explain her art to anyone – in fact she’s done with answering questions about what inspired her work because sometimes it’s nothing other than just for the sake of creating. When she first started being public with her art, AMKMQ felt a huge pressure to always have a detailed description of each piece and if she didn’t, then she wouldn’t post it online. This affected her work a lot because she was then left feeling a bit pretentious.

“I stopped thinking like this at the end of last year because my perception changed. In one of my studios, we were talking about art as religion. Creating not to have shit to say or seem talented, but more for the sake of art. Like art as a devotional object, something to admire. Knowing you don’t always have to have an answer for why you created something, or know immediately why you did. It’s like the sake of creating is so important.”

AMKMQ also has the benefit of enjoying visibility in different art scenes around the world, because of her connection to different places. She’s worked in the Lagos, Accra, London and New York art scenes and mixed and matched ehr experiences from these places into her art. “The Accra art scene is soo much better than anywhere else I have experienced, in Lagos it’s very gate keeped and only a certain set of artists stay getting all the deals and attention. No one pays attention to younger artists, especially not women. But in Ghana, people are so much more accepting and everybody really be on their grind, so there’s space for everyone to eat literally”.

As the world slows down due to the ongoing ‘rona pandemic, AMKMQ is keeping her art and creativity alive through constantly learning and creating. For her, it’s a great time as any for creatives especially because she feels the heavy use of digital media may give rise to a post-pandemic movement characterised by digital art. While we wait to see what great ideas are birthed from this, you can catch up with all things AMKMQ and her art here.

Featured image credits/Clawdia Marine and Lena Morton

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

ICYMI: Meet Seyi Alawode, the twenty-two year old changing th e face of corporate culture

Some iconic cars you’ll remember from your childhood in Nigeria

Posted on by The Native

The history behind the first car to ply Nigerian roads is shrouded in mystery and conflicting reports, but it has been confirmed that Herbert Macaulay is the first Nigerian citizen to own and drive a car, while Funmilayo Ransome Kuti besides being a civil rights activist was also a car enthusiast, being the first Nigerian woman to ever drive a car.

Beyond being a necessary means of transportation, the type of car a person drives reflects their taste, status and personality. While most vehicles in Nigeria are imported, our adaptation and use of these cars have made them truly Nigerian, and car enthusiasts even coined specifically Nigerian names for different car models.

 

Peugeot 504

Perhaps the most iconic of all cars to ply Nigerian roads, the 504, up until the early 2000s was the pinnacle mark of prestige for high ranking government and military officials, as well as people in the middle class. In partnership with the Nigerian government, Peugeot set up a manufacturing plant in Nigeria in 1975, which assembled over 400,000 models of the 504, until production stopped in 2006. Reliable and sturdy, the 504 has a simple and rigid exterior, the car’s high suspension and sharp steering made it the prime choice for handling the rough roads.

 

“Ti m ba hammer, first thing na hummer
One million dollars, elo lo ma je ti m ba se si naira”

Hummer Jeep

In his 2007 hit, “Yahooze”, Olu Maintain endorsed Hummer as the quintessential ‘I don hammer’ whip, representing the success of the biggest boys and girls, and the young at heart. The show-stopping SUV and it’s stretch variation are still a staple for weddings, and parties, where celebrants want to make a big entrance. With low fuel economy and high emissions, we are glad everyone is over this mini-tank.

The ‘German Mistake’ & ‘V-Boot’

Mercedes Benz has always been an automobile brand that represents the best in engineering and luxury. Before the s500 was the standard for the merger, the 1984 200 Benz, known as the ‘German Mistake’ in Nigeria and its junior brother, the V-boot were the legends with which successful Nigerian business people were marked by. The W123 (or Mercedes 200) was known as “German Mistake” because of the fact that it rarely had a mechanical fault, a testimony to its durability. The ‘V-boot’ represented stability and a sound investment for the Nigerian middle class, and would become one of the most sought after vehicles on the car market.

Volvo 240

Nigerian roads are some the most testing in the world, and finding a good mechanic who won’t do more damage to your car is an even tougher task. To reduce the stress of car ownership, the best bet is to buy a car that has low maintenance costs, and for that, Volvo is probably your bet. The Volvo 240 is perhaps one the safest and most durable cars ever manufactured, and as a result, enjoyed a lot of success amongst middle class civil servants in Nigeria. Poor fuel consumption, a scarce dashboard, and lackluster build make this car a bit boring aesthetically, but it’s reputation for safety made the setbacks worth it. Made from British steel, being the best in the world in the 80s, the Sweedish car has one of the best reputations in the world.

Innoson: The son of the soil, and the nation’s pride. Originally founded in 1981 as a motorcycle parts importer, Innoson Motors has gone on to become Nigeria’s first indigenous car and bus manufacturer. Establishing their production factor in Nnewi Anambra, the company has produced a fleet of vehicles, producing 70% of them locally, and sourcing the rest from Japan and China. The Innoson Jeep is quite popular, though it is not a cheap vehicle with a new one going for anywhere between 20 & 30 million Naira. Choosing human labour over machine assembly, we look forward to the new levels of innovation this homegrown brand will bring.

Honda ‘End of Discussion’: Nigerian car fanatics are always in arms about which car reigns supreme between the Honda Accord, and the Toyota Camry. Settling the score for Honda, and heralded as the ‘End of Discussion’ when it first hit our shores, the 2003 – 2005 Accord is still one of the most common cars on Nigerian roads. With a sleek, beveled exterior, and comfortable interior, the car is very popular among first time car owners in Nigeria. As an investment, the Accord is fantastic as it does not depreciate a lot and still has an active used car market. Quiet and sturdy, the economical Accord is a Nigerian favorite.

Simple, robust and economical seem to be the defining characteristics of Nigerian automobile taste. We hope to see more Nigerian owned and produced cars in the next decade, particularly those that take advantage of renewable technology. Is there an Iconic Nigerian car we missed? Let us know down below.

Featured Image Credits: Web
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Djaji is a creative Vagabond, send me your takes on music and African culture @djajiprime

ICYMI: AFROPOP ON THE RISE: We’re Witnessing A Dominant New Line In The Afropop Vanguarde

Rap Song of the Week: Espiquet’s catchy & sinister “The Krown”

Posted on by Dennis Ade Peter

First things first, R.I.P to Pop Smoke. One of the defining qualities of drill music is attitude. As a genre embedded with machismo, hip-hop demands that rappers are charismatic, however, drill takes that tenet further. Drill needs a rapper to be invincible and magnetic, and with that, listening to Espiquet’s “The Krown” is the equivalent of watching King Kong hop from one building to the next with caring about the rubble he’s leaving behind.

In less than three minutes, the South African rapper piles on a controlled flurry of one-liners, which makes it difficult to differentiate between which lines are set-ups, and which are punchlines—all you know is that you’re transfixed in the best way possible.

Much like the late Pop Smoke, his deep, ubiquitous voice is what draws you in, whilst the way he flows with the beat straps you in and makes you enjoy the rest of the song. Besides this, the song benefits the most from how easily he switches in between languages, whilst still maintaining his flow.

“Shawty looking like a Barbie, I’m Ken/she gon say she like the sound of my voice, I don’t think she’ll ever hear it again”, he spits, nonchalantly attacking Zino-D’s ominously screeching strings and belligerent bass drops.  It all adds up to a song that is wonderfully sinister and bizarrely catchy.

Watch the video for Espiquet’s “The Krown” here.

Featured Image Credits: Instagram/Espiquet

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

ICYMI: NOBODY DOES BRAGGADOCIO LIKE MR NGCOBO

We spoke to the director behind the thrilling video for Show Dem Camp & Buju’s “Do Me Nice”

Posted on by Dennis Ade Peter

Beyond being visual accompaniments, music videos serve as the perfect medium to create memorable worlds for songs to exist in. When properly thought out and well-executed, music videos use narratives and other world-building techniques for proper nuance, etching the song further into the minds of viewers and listeners through entertainment and intrigue. One good examply of this, is the recently released video for Show Dem Camp’s Buju-assisted bop, “Do Me Nice”.

One of the standout cuts off SDC’s late 2019 studio album, ‘Palmwine Express’, “Do Me Nice” leans directly into the groove-driven, breezy atmosphere that has come to define the rap duo’s ‘Palmwine Music’ series. Like Tec quips at the end of the verse: he and Ghost came with banter, Buju brought the lamba, while  producer Spax came through with the banger.

Instead of putting out a set of visuals that plays heavily into the song’s summery feel, though, SDC and the video’s director, Viktor Awuse, flip the script into a pulsating thriller that involves a femme fatale figure, played by Seyi Shay.

“A lot of people are used to seeing SDC heavy on vibing in their music video, it’s always all peachy and calm”, Viktor says, aptly describing the long-running aesthetics of the videos off their PM series. “I like that vibe, but for me it made sense to have some sort of a love triangle that acts a gateway to different world—basically, show SDC in different but captivating light.” Between the heated conversations of the interrogation scene, the haunting and sultry lighting and its overall packaging, Viktor and the creative team achieve their aim and more, putting together a video that is captivating, distinct from most afropop videos around and instantly memorable.

For many, the video for “Do Me Nice” will be their introduction to Viktor Awuse, and it’s a great entry point to a director who is working his way up the ladder as a bonafide filmmaker. Given what we’ve seen, it’s defintiely interesting to consider the fact that that the Port Harcourt-based creative doesn’t have any formal filmmaking training. “I studied Product Design in Uni, so it was when I was doing my Master’s degree that I fell in love with film properly”, Viktor explains over the phone. “I’ve always had an interest in film, but film and photography really caught me during that period, and I was able to do a project on mental health. From that point on, I’ve been applying myself through the love of it.”

From his work on the video for AYLØ’s “Still II”, to cutting Santi’s phenomenal appearance on Boiler Room’s Energy series, as well as other independent projects, Viktor’s strength is in his passion and flair for showing stories in idiosyncratic, yet, widely entrancing ways. The video for “Do Me Nice” is Viktor Awuse’s entrance into the afropop mainstream, however, his plan is to leverage this opening for more excellent work from him—and his Prassars collective—in the future.

In a bid to get to know him better, we spoke to Viktor for a breakdown and creative peek into the video “Do Me Nice”.

NATIVE: How did you link up with Show Dem Camp?

Viktor: That was through Ebuka Nwobu (the video producer for “Do Me Nice”). The first time I saw him was the set for Santi and Odunsi’s Boiler Room appearance, he was raging and bouncing all through so he might not remember this. But we met properly on the video set for Gigi Atlantis’ “Wahala on the Rocks”, he produced that video as well. Around the end of February, he hit me up for some other jobs and we discussed some mad ideas for other people’s videos he thought we could work on.

I’ve been a big SDC fan from time, they actually introduced me to Ladipoe and BOJ all the way from “Feel Alright”, that was my shit. When he sent in the track, I knew I wanted to do the video ‘cos these are artists I really like, and the song is a banger. In like two days, we already had something for it, and it took less than two weeks to shoot it, just before the Coronavirus really hit Nigeria—I think we were amongst those on the last flights to Port Harcourt.

What was it like being on set with artists you revere?

Funny enough, I won’t say I get star-struck a lot—I’m very professional—but I was star-struck a lot on that day. The thing is, you meet some people and you won’t expect to meet some big stars, but it hits different. I’ve known of these guys for like ten years, they were the thriving rap guys and they still haven’t really changed. It was really nice to work on that project, you know, and the reception has been great so far. It’s not every day you work with your heroes and a fantastic producer. They could have used so many people in Lagos, but they brought us in and paid, which is a huge win. I consider it a blessing.

What was the inspiration behind the “Do Me Nice” video?

I think a lot of people are used to seeing SDC heavy on vibing in their music video, it’s always all peachy and calm. I like that vibe, but for me it made sense to have some sort of a love triangle that acts a gateway to different world—basically, show SDC in different but captivating light. It has more of a gangster feel, and we wanted it to be like a short movie with love, lust and chaos as the themes.

I am very big on storytelling, I feel like that’s my strongest suit—I like to tell stories and I’m not scared to get very creative.

I actually want to get more gory in general, ‘cause I believe that love, like everything in life, is gory. I believe there’s a tension we skip in film, ‘cause  telling someone ‘I Love you’ can be harsher in reality, so I feel like this video was perfect for me. I’m so happy that they brought Seyi Shay in, she was the perfect surprise.

 

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Did you know Seyi Shay was going to be in the video before you came in to shoot?

I swear to God, I did not know—and it was perfect. It was one of those things that happened on set that let me know that all of this was going to work. I remember being there that day and Ebuka was like, ‘Seyi Shay is going to be the main woman’. Just knowing that made me feel like everything was going to run smoothly.

That’s fire. Was that the mood generally?

It was all so easy, man. Normally, experiences like these might bring some nerves, but I felt at ease throughout. There were so many great people around and everything fell into place nicely. Buju was a dream to work with; SDC were just their chill, OG selves. Immediately they sat at the table and started going at it, it was like I was shooting a proper film. The way I work, I like long takes, and once we started shooting there were no need for cuts—everybody went together. They brought in great people, and there was unreal harmony all through.

What were the significance of the other settings that weren’t in the interrogation room?

Yes. There are three decks in the story, the first is Tec’s and that happens after he blows himself up. That happens in a noir shade room, where’s in like a dreamy place with a woman’s figure behind. I can’t remember what exactly brought me to that idea, but I’ve always wanted to do silhouette work—it kinda takes you away from reality, which is the point of that setting. It was about creating three different worlds, so that one had bright light.

The second one is Buju, there’s this mild blur and you see the girl of his dreams, which is Seyi Shay at that point. Then the third one—Ghost’s—is a lot more gory, you don’t even really see him, you just see the flashbacks, and the blood splatters. So it’s the viewer experiencing being next to them around that table and also following each person into a different space. The idea was bringing dreamworlds to life, and our set designer, Desola Falomo, did a beautiful job—major shout-out to her.

Tec also sometimes works as music video director [under the moniker, King Davies]. Was he intrusive at all or was he very hands off?

Tec didn’t say anything while we were shooting. It wasn’t until after we had done the initial cuts that they got back to me, and there were very few things they wanted to change. If anything, he just had a positive aura on set. I think there was one or two things he saw that he just hinted at, it wasn’t anything corrective. Tec and Ghost were on point, man, like they get it.

 

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How long did it take to shoot and edit?

Shooting happened in a day. We started around 5pm on a Saturday, and the last people to leave, which were Tec and Ghost, left around 3:30am the following morning—that’s almost twelve hours. Including prep work, though, it was over a day. The video that’s out now was ready in two weeks. We even did some other cuts, like there were like three other ways to cut it—we had a lot of cool stuff, but we had to make sure we out together what was best for the artists/clients.

How important is this for you in terms of future opportunities?

I spoke to Tec a few days ago before the video came out, and I was telling him that he’s opened up so many things for us. As I’m talking to you, it could easily be another director, and I was telling him that I will never forget this break he has given us, till the day I die. I will forever rep SDC, and anything they want from us video-wise, we’ll find a way to figure it out. They gave us the first music video money in Lagos—that’s a big break, you know.

We’re already planning on where we want to go next—some we’ve even executed—and we just want to push the boundaries of artists telling stories in their music. We’re in that generation already, ‘cos there’s guys like Uax, Falomo and TSE. It’s an ongoing wave, and the videos won’t necessarily be flashy but they’d be as significant as big budget cuts.

I have to point out that Santi’s “Gangsta Fear” video was one that changed the landscape, me and the guys in my team talk about that shit all the time. It’s a very Nigerian video but it’s super creative. That’s what myself and Prassars in general want to do, we want to make stuff that’s Nigerian and also has elements of controlled chaos. It’s all about that, man. The future is bright, man. SDC have done their part, it’s up to us to fuck it up, and I know that we will not do that.

[Featured Image Credits: YouTube/Show Dem Camp]

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

ICYMI: WE SPOKE TO OXLADE ON THE VIDEO FOR HIS HIT SONG, “AWAY”

Songs of the day: New Music from Simi, Mut4y, Minz, Fave & more

Posted on by Dennis Ade Peter

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.

We started the week with new releases from Mayor of Lagos, Suté Iwar, AYLØ, Fasina, Mojo, Seki, $pacely, Teni and DJ Neptune as well as newcomer, WhoIsAkinn. Today, Simi opens her account for the year with a charming romantic cut, Mut4y shares the lead single for his joint project with upcoming singer Elhi, Fave blesses us with the full, recorded version of the song that brought her viral sucess, and more.

Simi – “Duduke”

Around this time last year, Simi dropped her sophomore album, ‘Omo Charlie Champagne’, wrapping up her major label agreement with X3M Music. The singer has since set up her own imprint, Studio Brat, under which she’s been dropping new music. Her new single “Duduke”, is the follow-up to “Selense”, and is a return to the charming romantic sentiments that makes up a significant portion of her catalogue. “I may not give you the world, but I’ll give you what I have”, she sings over Oscar’s groovy Yoruba folk production.

Sir Bastien x Lecktrik – “Kawaii Mami”

Sir Bastien’s debut album, ‘Mango’, is a triumph of collaborations and stellar curation. On it, the producer and occasional vocalist teamed up with a variety of artists to create a soothing universe. For his first official single of this year, “Kawaii Mami”, he features rapper Lecktrik, who also made an appearance on ‘Mango’ standout, “Take You There”. Together, the two showcase their chemistry once again, this time for a bubbly cut. Sir Bastien lays down psychedelic guitar riffs and thudding drums, while Lecktrik delivers a playful set teasing and dotting on a love interest.

Fave – “N.B.U”

It is impossible to overstate the importance of social media in amplifying the voice of talented artists looking to cut through all the noise and clutter. Since putting up the now-viral video where she performed a written and un-recorded song over one of the numerous free beats made available by Lagos-based artist Jinmi Abduls, Fave has been attracting the attention of new listeners and industry heavyweights alike. That song, now titled “N.B.U”, is now available for listening in all its finished glory. Even though it is now properly recorded and engineered, Fave’s stunning contralto vocals and songwriting abilities are still the central attraction here, more indication that she’s the real deal and is ready to go whatever distance she wants.

Mut4y x Elhi – “Bad”

As one-half of the revered Legendury Beatz, Mut4y has shaped the sound of afropop by working with some of the biggest names on the scene. In recent years, he’s also stepped out as facilitator of songs, including the hit single with Wizkid, “Manya” and “Turn Me On” with Maleek Berry. For his next project, he’s linked up with up-and-coming singer, Elhi, for a 5-track EP titled ‘Eu4ria’, which will be available next month. “Bad” is the lead single off the EP, and it establishes the working relationship between the pair. Over Mut4y’s buzzing synths, piano organs and afro-Caribbean drums, Elhi sings of being enamoured by a love interest who might just be toxic to him, driving his vivid imagery with gently soaring melodies.

Studio Magic – “Double Dare You” ft. Ichaba, Yonda & Dremo

When Davido challenged labels and collectives to a battle of hits from the previous decade, he did it knowing full well that there aren’t a handful that can challenge his DMW imprint. On the track, Dremo, Ichaba and Yonda tap into the cocky attitude of their label boss on “Double Dare You”. Curated by Studio Magic, the trio take turns to boast of the crew’s acclaim over a springy beat. “30BG is the movement, balling on steady, wetin you wan tell me?”, Ichaba brags on the hook.

Minz – “Quarantino”

Since returning to the spotlight in mid-2019, Minz has kept the streets constantly fed. The singer has been in arguably his most active period yet, featuring on projects by Boybreed, Wani, Ejoya, and releasing a grip of singles and video. His new single, “Quarantino”, taps into the ongoing lockdown situation the world is facing due to Ms Rona, in the most sultry way possible. Backed by ambient piano, wafting strings and mid-tempo bass, Minz states his intentions to isolate with his love interest, using football references to capture the physical desires he’s looking to satisfy once they are together.

Naya Akanji – “Eyes on You”

Naya Akanji has one of those voices that captivates you once you hear it. The singer has only two singles out, but her talent is immediately apparent. “Eyes on You”, her latest release, is a sex-positive cut detailing her infatuation with a crush she wants to get with desperately. “Baby come closer, I’ll make you eat me up like I’m your raw dinner”, she sings in a wispy tone, gliding over the Caribbean pop-inflected production from Lemar Abdul. “Eyes on You” is the lead single off Naya’s joint EP with Abdul, scheduled for release sometime soon.

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

ICYMI: BANTU SEND A TIMELY MESSAGE WITH THEIR LATEST RELEASE, “DISRUPT THE PROGRAMME”

Buju signs to Spaceship Records, accompanied by Burna Boy-assisted L’Enu Remix

Posted on by Tami Makinde

2019 was a remarkable year for Buju, when he stormed the scene with “Energy”, before releasing the more catchy upbeat pop-fused track  “Spiritual” gained the attention of Zlatan and propelled Buju into mainstream success. Towards the end of the year, he dropped “L’enu”, which showed off his inimitable talent, and now he’s come back with a Burna Boy-assisted remix to the track.

https://www.instagram.com/p/B-uBy1lDreP/

With the exciting news of signing Buju to his label, Spaceship Ent, we can only expect big things on the horizon for the budding superstar. Apart from Burna’s talented sister, Nissi, Buju is the only other artist signed to the label, and given Burna’s unique space in the global music industry right now, we’re excited to see where this goes for both artists.

This also serves sure indication that Burna Boy is aiming to build value in the music industry, by creating room for younger artists to thrive. This cosign also shows that more than making music, Burna is also ready to take on the business side, and living up to his status as the African Giant.

In the accompanying T.G Omori directed video, Buju is seen delivering his self-assured verses in a classroom with his mates dance around him – reminiscent of Wizkid’s introduction to the scene on “Holla At Your Boy”. Burna Boy pulls up to the scene and scoops Buju away as the pair go for a drive around town while Burna puts his profane boasts on full display. ‘Tell me what I cannot do/Pull up in a Jag cause I’m not you’ he self-assuredly croons over the bouncy afropop drums produced by Steph.

Check out the video for “L’enu (Remix)” below.

Teni, Peruzzi & the dynamic of second chances in afropop

Posted on by Dennis Ade Peter

Resurgence is a common motif in afropop’s most significant and storied careers – in fact, a ‘return to form’ might as well be considered a necessity, since it adds a certain amount of complexity to their trajectory. For example, 2Baba nearly removed himself from an industry he helped create, after a string of ill-fated and tepidly received releases: (‘Plan B’, ‘The Unstoppable’) in the late ‘00s. After doing a complete 180 with a slew of classic hit singles off 2010’s ‘The Unstoppable: International Edition’, the singer won back public approval, and began to own and solidify his towering legacy.

Similarly, the younger generation of superstars have had their own reboot moments. After the floundering performance of his 2016 EP, ‘Son of Mercy’, which he admitted was shit himself in our Issue 002 cover, Davido returned smoking hot with one of afropop’s greatest runs in 2017.

In addition, the lukewarm reception of Wizkid’s ‘Sounds from the Other Side’ at home was followed by instant smash hits “Manya” and “Soco”; Tiwa Savage’s acclaimed EP, ‘Sugarcane’, was preceded by her marital issues which pit the public against her; and Burna Boy’s ongoing domination is the result of a rebirth brought about by controversies and a bloated sophomore album.

As important as second chances are to the fabric of afropop superstardom, it’s still a relatively unforgiving landscape to navigate. With consistency being the most important part of the game, it means artists need to have proven themselves over long stretches to have a proper shot at resurgence—and even that doesn’t guarantee much. In 2018, Duncan Mighty recaptured everyone’s attention with “Fake Love”, alongside Wizkid, as well as subsequent collaborations with Davido and Tiwa Savage, which turned out to be more of a fad and than a triumphant return to mainstream longevity.

Of course the dynamic of second chances in afropop vary according to each artist’s standing, however, it can sometimes indicts artists who have proven themselves but are still finding their feet. For example, Teni released a new EP last Friday, ‘The Quarantine Playlist’, and given her status on the scene, a new project from her should have generated massive fanfare.  ‘TQP’ has yet to catch on significantly, which is odd, considering the artist who dropped. Obviously, we should consider its informal release strategy and the fact that it’s only been out for a few days, but in the era of instant interaction and gratification, Teni’s EP is running a snail’s race in a cheetah terrain. We all love Teni, so it’s possible that ‘TQP‘ might pay huge dividends in the long run, but “might” is the problem here.

Uncertainties are not a thing for superstars; even after hitting a snag, they tend to pick right up from their previous peak. Teni’s snag, was last October’s ‘Billionaire’, a debut EP that mainly relied on its titular track as its saving grace. The EP was in stark contrast to her phenomenal run from the year before, which gained everyone’s attention and made her afrop’s sweetheart that year.

For every solid feature appearance like BOJ’s “Obe” and Skibii’s “Daz How Star Do”, there were less impressive singles like “Party Next Door” and “Sugar Mummy”. Even her big single, “Billionaire”, which is somewhat relatable at best, is a much more gimmicky remake of her sublime, heartfelt hit song, “Uyo Meyo”.

‘TQP’ is not explicitly billed as corrective or blockbuster project, which is exactly why it works. It’s a collection of gentle, playful and catchy songs that flips the current grimness of being perpetually indoors into ear candy. It’s deliberately low stakes, which is clearly where Teni works best—even when she comes across as serious, the catch is that her music always has a trademark charm. With all the positives going for it, ‘TQP’ still faces an uphill battle for total acceptance; Teni is still big enough for the EP to gain significant attention and spread with time, but for superstars, instant impact is the usually the M.O.

It’s not as though Teni can’t manage to recapture and even surpass the attention and hype her biggest releases got —I’m not betting against her—however, it’s a bit worrying that she’s in a buffer space where she can either vault back into the stars or be pegged down to earth. A ready example of the latter is Lil Kesh, an artist who’s still very much around and bankable, but has found it difficult to hit the heights of his breakout run. Artists like these don’t always go into obscurity, but there’s always a feeling of unfulfilled potential when reflecting on their career trajectory — a situation nobody wants for an artist like Teni.

As much as a grip of hit singles will endear audiences to a new artist, the tricky part is consistently putting the right foot forward for a long while. Once there’s a release that’s regarded as mid or below par, not everyone who tuned in will be around when the artist is trying to redeem themselves. In a similar position as Teni’s, Peruzzi is another artist trying to trudge forward amidst the ups and downs of the reception to his music.

To close out his breakout 2018—crystallised by his scene stealing verse and songwriting credits for 2Baba’s “Amaka”—the DMW singer dropped his debut EP, ‘Heartwork’, a collection of breezy mid-tempo cuts with features from Davido, Burna Boy and more. While the EP had its bright moments, it wasn’t acclaimed in the way an anticipated project from a potential superstar should have been received. Off the project, “Majesty” began to enjoy radio and TV rotation after its reissue as a single with an accompanying music video in mid-2019.

Looking to build off that momentum, Peruzzi’s debut album, ‘Huncho Vibes’, came out in November, and while it was an upgrade on his previous EP, it didn’t alter the singer’s perception as a burgeoning superstar. In addition, a very public contractual controversy caused the album to be temporarily taken off streaming platforms, reducing chances for one or more breakout hits to push acceptance. In all of this, Peruzzi has projected an overly positive candour, continually putting out new music and videos.

‘3’, the singer’s new EP, hones in on his flair for romantic cuts that straddle the line between heartfelt, raunchy and catchy. Although the 3-song project was a surprise drop, it hasn’t made the type of dent you’d expect from an artist linked with one of the biggest labels/collectives around. Whether he’s settled into his current position as popular but largely serviceable artist, or he harbours loftier ambitions for himself, it would be wrong to deem this less-than-ideal reception as a fall from grace, especially when you consider that Peruzzi is still very enamoured by making music.

It also feels noteworthy to mention that, Peruzzi is one of—if not—the most popular songwriters working in afropop. This might be a factor in the public perception of his abilities and priorities. Regardless, it doesn’t have to be one or the other; capable artists have the licence to pen hit songs while also working their way into, and sustaining, widespread prominence.

Peruzzi and Teni are amongst the few who have openly claimed their credits as songwriters on songs they didn’t feature on, whilst also actively working their careers as artists. In a space that’s still hostile to assisted songwriting, it’s easy to wonder whether there’s a negative effect of their songwriting skills to their attempts at re-establishing themselves as (potential) pop powerhouses. It could also very well be that they might just be better with the pen than they are with the mic.

Amidst the semantics of perception, the quality of the artist’s output should take precedence in cases like these. For artists like Teni and Peruzzi, who, even with their missteps, have shown their ability to make hits many occasions; holding out hope, pressing play on their music (until it becomes consistently bad), and lauding them when they come correct, is something they’ve earned from the afropop audience.

We’re definitely keeping close tabs on them, and are wondering what they’re going to do next. However, let’s see how much more they have in store, before we write them off.

[Featured Image Credits: Web]

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

ICYMI: WE’RE WITNESSING A DOMINANT NEW LINE IN THE AFROPOP VANGUARD

The Shuffle: Revisiting Cynthia Morgan’s sensual dancehall bop, “Lead Me On”

Posted on by Tami Makinde

Back in early 2010s, Cynthia Morgan was the name on everyone’s lips, and following the release of her inescapable hit singles “Don’t Break My Heart” and “I’m Taken”, the talented singer was catapulted into mainstream success. In her albeit short run in the limelight, Cynthia Morgan broke the status quo in her own way, proved to be a force to reckon with and paved the way for more female artists to simply talk their shit.

It’s impossible to not remember her signature red hair, daring outfits, killer music videos and her pop-infused reggae sound. The internet has collectively wondered where she’s been since her exit from her record label back in 2017, after which we haven’t heard much from her since.

Two years after, she re-emerged and attempted a return to the scene under a new moniker, Madrina while releasing two loose singles “Billion Dollar Woman” and “Porsche Panamera” which didn’t seem to gain any momentum. Since then, we haven’t heard from the Benin-native, who was once on track to become one of the best artists in the game.

She definitely gained everyone’s attention with ‘safe’ topics for women such as her vulnerable confession on “Don’t Break My Heart” and her rejection of unwanted attention on “I’m Taken”. However, we all seem to have slept on one of her tracks, “Lead Me On”, which didn’t quite become as popular as Cynthia’s other tracks, perhaps because of how sensual it is in stark contrast to her usual sweet love songs. In today’s world where women have more audacity to break the status quo, the song would slap the same way Rihanna’s “Birthday Cake” or Megan thee Stallion’s “Big Ole Freak” did.

On “Lead Me On”, Cynthia Morgan sing-raps about a love interest who she has the irresistible hots for, and wants to engage in sexual relations with. ‘Me no care what them haffi say, Imma put you in bed’ she says on the chorus, which against a drum-led beat is the captivating highlight of the entire song.

The accompanying video sees Cynthia Morgan displaying her sensuality dancing suggestively and being amorous on a beach with her lover, with a sensual black and white filter to add to the raunchiness. With songs and videos like this, it’s clear that Cynthia Morgan was ahead of her time, and we would have loved to see her come more into herself on the scene if she didn’t take her hiatus.

We really want to see Cynthia make a comeback, but until she does, get familiar with “Lead Me On” below.

Featured image credits/stylerave.com

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

ICYMI: Asa’s “Fire on the Mountain” reflects the world we’re living in today

How music is proving to be the perfect cure for cabin fever

Posted on by The Native

This decade has definitely kicked off on a very strange note, and this version of the simulation is clearly glitching. World governments have issued lockdowns, and despite its effect on the music industry—like mass festival cancellations and tour delays—artists are still giving us plenty of material to listen to in the interim while also offering different new ways to cope with social-distancing.

In isolation, music feels more necessary than usual and has turned artists into unlikely heroes. While gym instructors, Instagram influences and motivational speakers try to encourage us to stay fit, keep our rooms organised and draw up plans for the future, artists have delivered pure entertainment which has made isolation more bearable for everyone.

More than just something to listen to, songs have now become a soundtrack to different activities that are keeping us busy while we’re all ridiculously restless. Bugzey & ‘s “Don’t Rush” became the soundtrack to women getting dressed and feeling after a few weeks of being inside with nowhere to dress up to. Following that, Falz & Ms Banks’s “Bop Daddy” was the mens’ responses ot getting out their fits in isolation, also filling their time with a reminder of their good looks after some time in isolation.

In addition to this, both songs became widely popular after these challenges took over Instagram, Twitter & Tik Tok, which highlights the mutual benefit for both artists and those of us at home, whilst we’re all locked up inside.

Being indoors with not much to do can also give you some room and time to think, which usually causes a shift in consciousness. When everything was business as usual, one might not have always had time to stop and just regroup. Now, being in isolation is forcing us to do so, and luckily we have music that can help us guide our thoughts.

While everyone’s feelings are heightened by current global events, the emotions artists express on their songs offer listeners a chance to process emotions with proximity to theirs. For instance, new releases like Buju and Wani’s contribution on Higo & HVRRY’s “Company”, prompts us to reconsider our approach towards romantic relationships, while Odunsi and Tems’ “Decided” encourages us to look inwards for true growth.

Emotions are a universal language, and so is music. You can always recognise the little details of your pain or joy in the music you’re listening to, whether or not the artists are presenting something that directly relates to you. Whether we need it or not, music is always there to comfort us, and there’s no such thing as too many songs.

On the other hand, feelings are infectious and if you’re not feeling up to processing negative, you have songs that can uplift your mood with catchy and bouncy rhythm. Fortunately, Afropop is well equipped to deliver uplifting and mind-numbing jams that can give us the energy to get through the quarantine days.

Falz is setting the tone with “Bop Daddy” serving as the soundtrack to our bedroom dance parties. Mayorkun, Joeboy, $pacely, Benjiflow and lots more have also dropped new songs this month, while Santi, Masion2500 and Playboy Carti are all gearing up to release new music in the coming weeks. DRB are coming back with a new album ‘Pioneers’ and have given us a taste of what to expect with their latest singl, “Softly”.

Asa also brought that extra ray of sunshine to our lives when she invited fans into her Lagos apartment for an IG live concert, which offered consolation for her cancelled tours and concerts. More recently, she joined Davido’s Live for a playful set where they performed each other’s songs, which was a special moment for afropop in general.

Though it’s not quite like seeing a show in person, “quarantine concerts” on IG Live and YouTube live are playing a fascinating role in keeping artists’ appeal alive while public life is on lockdown. Rather than merely sharing promotional videos, artists are encouraged to interact with fans and this has led to them revealing their unique and unfiltered sides which many fans wouldn’t have had the opportunity to see up close.

 

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🤦🏾‍♀️🤦🏾‍♀️ man like Felix 🤣

A post shared by Tiwa Savage (@tiwasavage) on

It’s not all quite so serious,  producers all over the world have been hosting friendly competitions on their Instagram, providing us with hilarious and heartwarming moments that the entire internet is enjoying together. Sarz and Shizzi set the ball rolling in Nigeria with their Epic Beat Battle where they went back and forth playing classic records from each of their catalogues and offering up commentary as they played unreleased songs along the way. These uplifting live events are so much more than a way to pass the time as it’s also sparking conversation across social media channels, and while this isn’t new, it’s especially nice at this time.

Music events from all over the world often develop into trending conversations and strengthens the feeling that we’re all connected during this period of uncertainty. It’s interesting to note that afropop’s world conquest hasn’t been halted by the movement restrictions. Rema’s “Dumebi” was played on both Rihanna and Drake’s Instagram live parties, while Burna Boy and Tiwa Savage made appearances on Diddy’s “Dance-a-thon”. Diddy hosted both artists on his live on Easter Sunday to raise money for a non-profit organisation that coordinates the distribution of protective equipment (masks, gloves, and gowns) to health care workers.

With 14 more days added to Nigeria’s lockdown, finding ways to keep ourselves entertained has become a sort of survival instinct. Music has consistently provided the entertainment necessary to keep us hopeful, while we wait out these uncertain times.

Featured Image Credits: Instagram/debola_abimbolu
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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: Asa gave us a heartwarming performance on her IG live

M.I Abaga & A-Q drop collaborative EP, ‘The Live Report’

Posted on by Dennis Ade Peter

Since linking up for their working together on A-Q’s “G Boys (Feeling Like)” in 2016, M.I Abaga and A-Q have developed cordial bromance, collaborating in front of the mic and off it as well. The pair featured on each other’s latest projects from last month, ‘Judah’ and ‘God’s Engineering’, turning out high echelon rap cuts driven by a friendly competitive energy. Continuing to work their chemistry on wax, the pair have now linked up for a joint EP, ‘The Live Report’.

M.I announced the project last Thursday, confirming that it was borne out of a fan’s request on Twitter and put together within five days. ‘The Live Report’ consists of six new tracks, with production entirely handled by A-Q’s go-to producer, Beats By Jayy, who also features alongside Nawe on the EP. ‘The Live Report’ is M.I’s very first joint project, while it is A-Q’s second, following ‘Crown’, his collaborative effort with Loose Kaynon from 2018.

Stream ‘The Live Report’ here.

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

NATIVE EXCLUSIVE: A-Q IS MOVING FROM VETERAN RAPPER TO LEADER OF A RENAISSANCE

Oxlade’s latest video “Away” is a celebration of a woman’s power

Posted on by Tami Makinde

Oxlade has cemented his position as a loverboy on the scene, and his recently released album, ‘Oxygene’ proves this. The lead single off his debut album, “Away”, has now been given a befitting music video directed by none other than the super talented T.G Omori.

Against the catchy, lightweight ambience of the highlife guitar riffs Spax produced, Oxlade croons about a forbidden romantic relationship with a beautiful woman, rather than be sad about this, Oxlade transforms this into a catchy upbeat track.

For the video, the pair aimed to showcase the beauty of women, whilst showing off the importance of her place in a man’s life. Oxlade says in the image above, T.G asked him to sit on his lady’s lap to personify the popular saying, “behind every successful man is a woman”

He and T.G Omori transfer us to the salty beach providence of Gold Coast in Ghana, with varying clips of the coast shoreline as Oxlade chases after a beautiful woman who he is forbidden from dating by her strict father. At the end of the video, the two lovebirds rekindle and make their romantic getaway.

Speaking to the NATIVE, Oxlade said:

“Majority of the scenes in the video emphasises the importance of a woman in a man’s life. Women are the most powerful creatures on earth. Respect them!!!”

Check out the video right here:

Featured image credits/youtube

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”

We spoke to a few creative freelancers about how the pandemic has affected them

Posted on by Tami Makinde

A big part of what makes these ‘rona times so scary, is how much we don’t know. We don’t know when it will end or how long we’ll be indoors for, or when a vaccine will be made available. The world has quickly become a different place in the wake of the pandemic, and almost every aspect of human life is changing – including the way in which we conduct business.

There’s a direct link between this pandemic and the economics of the world, because it’s not business as usual on all levels. Ecosystems have been disrupted, and while essential workers are still providing services worldwide, a large proportion of the world is now conducting their work from home in an effort to stop the spread of the virus. This means some independent businesses who are supplying products which are in demand are thriving, such as Quacktails who is providing everyone with the alcohol we all need to get through these times, however, some other self-employed, creative freelancers are really struggling to stay afloat.

Life for us as a media house has also been affected, a lot of production has been put on hold and we’re having to divert operations to suit this new normal. So in a bid to show that we’re really all in this together, The NATIVE spoke to a few young Nigerian creatives about how the lockdowns have affected their craft.

From musician, Ria Boss who is struggling to make sense of the loss of income from live gigs to director Dare Olaitan who is wishing for a monthly salary now, here’s what some creatives had to say:

Dare Olaitan, Director.

Corona has changed the landscape of film for this year. Cannes was cancelled. Festivals have been moved and funds shut down. Personally a fund that was meant to support a film of mine has been moved to next year. It would be good to have salaried income from two jobs, but that’s not my reality and creatively it’s been a big hit. I have a home office usually for my film work and writing so that’s still going on.

Ria Boss, musician.

Auntie Rona came in right as my performance schedule was thickening. My own monthly curated show in Ghana, Tranquil Tuesday, which had recently become an extra source of income as well as my own musical playground has had to take a back seat. That and countless other gigs that would have otherwise helped my streams of income were also postponed. I’ve recorded more music in the past few weeks than I did the whole of last year. I’ve been thinking about new ways of being able to reach my fans in the digital space that can translate into more streams.

https://www.youtube.com/watch?v=inly_LLuj6k

Oma Mahmud, Musician.

The uncertainty has left me generally uninspired, I have no creative direction. It’s getting easier now because my mind is getting used to the situation, so I’m able to focus a little better. This period has proven to be the toughest period for me as a musician. I can’t wait to be free, so I can play my guitar in front of a live audience again, while commenting on the horrors of Nigeria which have even now gone up a level.

Abba Makama, Director & Visual Artist

Luckily I’m still receiving some revenue from licensing my first film, ‘Green White Green’ on various platforms. I wrapped filming my 3rd film project right at the beginning of the pandemic and I’m supervising post production remotely. However a lot of trips and festivals had to be cancelled and it has also slowed down the development of future projects. As for my art, I’m always painting all the time so lock down or not, I create.

Ashley Okoli, Designer, Model & Stylist.

The lockdown has affected in so many ways, mostly mentally because as much as I like to create and make money, they are very necessary for my mental health because I am not doing the things I love. I’m a multi-faceted creative and have different avenues for expressing myself, so to have all those channels inadvertently blocked, wow I’m struggling. Usually I sketch my designs and have tailors make them, but with lockdowns that is not possible so for the past month. It’s really affecting my income, as I’m usually chasing down leads to find pay but now there’s no leads as we’re all indoors.

Chuchu Ojekwe, Photographer.

For me, I would definitely would say that the financial aspect of being a creative is at its lowest because of the lack of commissioned work due to the pandemic. However, I’m still creating. I believe that I have the power to create anything out of nothing and because of that, I have been able to use the limited resources, including the people around me, to create whatever I’m inspired to create. Most importantly, i have been able to rest, learn, unlearn and just exist. I have no expectations of myself rather than to make it out of this situation alive, so it definitely feels good to be creating under zero pressure.

Debola Abimbolu, Writer & Artist.

I feel like a lot more people are tuned into social media so I’m actually encouraged to share my art. The pressure to keep up with the demand for more content can be a hassle but as a creative, I think that pressure is actually what I need.

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Back in Heaven

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Ms Fu, Rapper.

Well I am still creating, even though I am not locked in studio so that’s a bit of a downside. But on the side, I also create content for an agency so this is helping me keep working and keep the brain moving about. The studio sessions after this are going to be fire.

Ayopo Abiri, Makeup Artist.

Wow so a lot of projects have been put on hold , the last shoot I did was right before the lock down and it was intense and hectic, getting paid was even a hassle because of bank issues. I am coping by creating boards/looks I’d like to try on models after this quarantine. I’m definitely incorporating more on set hygiene into my makeup though, I was doing it before but even MORE this time.

Ebuka Nwobu, Film Producer.

As a film producer I am pretty much jobless, but as a creative, I’ve been able to do more screenwriting in this period. The active nature of film production always proved a distraction, but now I’m able to concentrate better on what the characters I’m writing want to do and where the stories want to go. About career choices moving forward, I chose creative self-employment a while ago and if anything this lockdown confirms that I made the right choice. I’m very familiar with dry spells business-wise, so staying at home is not altogether strange.

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summer agwula, summer is over.

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Featured image credits/instagram

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

ICYMI: We spoke to a few people about living with their parents during isolation

Afropop on the Rise: We’re witnessing a dominant new line in the afropop vanguard

Posted on by Dennis Ade Peter

In just over a year since he was properly introduced into the mainstream, we could be getting a potential smash hit with Rema and the one of biggest artists in the world right now. After dropping his highly anticipated debut album, ‘Mandy & the Jungle’, Santi has gained wide international acclaim, performed at festivals all over the world, directed a music video for Goldlink and is reportedly working on a ground-breaking TV series.

In less than six months since its release, Fireboy’s ‘Laughter, Tears & Goosebumps’ has already been streamed over ten million times on Boomplay alone. With the runaway success of her first hit single, “Try Me”, Tems has become the leading light for a new generation of phenomenal female artists, and with a long line of admirers and high-profile collaborations in the tuck, that light is set to get more intense and brighter.

All of this considered, when you add Nasty C’s recent recording deal with Def Jam, Joeboy’s continued run of hit singles, Oxlade’s debut EP, ‘Oxygene’, racking over three million streams within the first week of release, you can see there’s clearly no shortage of milestone accomplishment from the African music’s younger stars. It could be due to the increased global attention around afropop, or it could be the pace of the news cycle and attention spans in general, what’s sure, however, is that these successes are far more significant than initially meets the eye. We are already witnessing a dominant new line in the Afropop vanguard, and it’s lit.

As much as stakeholders, music heads and fans search for and predict the next big thing, it’s odd that we don’t always realise a renaissance is in full effect until we’re knee or ankle-deep in it. This makes it a bit difficult to trace when things actually got jumping, however, what we do know is that nothing has been the same since around 2018.

In that year: Teni went on a consistent run of smash hit songs; Nasty C reached for and earned kingly status with his stunning sophomore album, ‘Strings & Blings’; Santi’s old Nollywood inspired videos pushed him into constant, even though controversial, mainstream conversations; Kwesi Arthur picked up a BET Awards nomination; and Odunsi dropped his game changing debut album, ‘rare.’.

By the summer of 2019, this crop of budding superstars were making further in-roads towards stardom, and they were joined by more nascent faces along the way, who are now certified hitmakers in their own rights. Fireboy’s “Jealous”, which originally appeared on the YBNL compilation from December 2018, became a smash hit; Joeboy’s “Baby” was inescapable after a slow build from the previous year and became the wedding anthem of the summer; and Rema’s “Dumebi” came and blew everyone out of the water. The best part about this invasion is the fact that all these artists are musically disparate, however, still co exist and are all winning, upends the idea that there’s only a token number of spots at the top for artists who don’t make generic afropop.

The game hasn’t really changed, in the sense that an artist typically has to go from unknown, to underground and then to mainstream. What separates this class of artists, however, is their cumulative effect and potential influence on the entire Afropop landscape. Since the early ‘10s window which produced a long-serving, dominant sect of artists such as Wizkid, Davido, Stonebwoy, Tiwa Savage, Burna Boy, Black Coffee and more, impactful new artists have mainly come in trickles, with some trailing off at some point.

With the amount of success they’ve already accrued in a short span, and the hunger they continue to show, Nasty C, Tems, Kwesi Arthur and their other talented counterparts are in good shape to continue pushing afropop’s charge for improved and innovative musical excellence, as well as increased global success. In what is perhaps their most defining element, this class isn’t looking to replace the predecessors; it’s more about staying true to themselves and evolving their own craft.

If you look through its past, the new completely phasing out the old is the norm in afropop. Some might explain it as the natural order of things, but the reason is actually less fatal: contemporary afropop is a young genre. At every point in time, the world has to cater to the age brackets which set trends: 16-35 years old. The youngest tend to dictate what the new trends are, and we’re witnessing a time when self-awareness and authenticity is what’s in trend.

All over the world, the most popular musicians are those who you can tell aren’t presenting a gimmick, and are just being themselves, and they manage to gain everyone’s attention with it, because we can all relate on some level. We’re experiencing a shift in consciousness as a generation, and afropop is catching up to this now.

For the majority of its first two decades, the modus operandi was to adapt or get left behind, and while that is still a factor, there’s more room for co-existence in the post-‘SFTOS’ era. This means that older artists can now inspire younger generations and still remain prominent years after breaking out—much in the same way JAY-Z, Eminem and Kanye West exist in the same realm as Drake, Future and Kendrick.

From a broad view, these relatively new artists have been able to learn the game through two previous generations of hitmakers, and have the room to create as they want. They are old enough to recall the days of Styl Plus and early P-Square, but their formative teen years were soundtracked by the Wizkids and Olamides. From Rema and Wizkid, to Oxlade and Wande Coal, this is the first time in afropop many younger artists invite vivid comparisons to their OGs without any form of competitive tension.

Even those who don’t remotely sound like their local inspirations on wax aren’t shy of making them public. Santi has mentioned how instrumental M.I Abaga’s seminal debut, ‘Talk About It’, affected his early days a rapper, a lot of Odunsi’s quirky aesthetic is due to his love for Nigerian music history, which was confirmed by the Ruff, Rugged n Raw sample he used in his 2019 track, “Wetin Dey”.

While we have these comparisons to draw for the men, it’s not quite the same for the ladies. Regardless, Lady Donli cites older African music women like Oby Onyioha and Oumou Sangare as her influences, with no mentions of the more contemporary pop divas—and she’s not alone. Some of that stems from the notion that there can only be one woman at the top alongside a multitude of men, but now with the crop of many women we have on the scene, there’s positive indication that things will be different going forward.

In all of this, it’s impossible to downplay the eye-opening effect of the internet and satellite TV on this crop of artists. With these technological advancements, this generation was able to feed their creative imagination, thanks to the fact that they had access to all the music that exist on the internet and outside of their own personal scopes. On his latest single, “There They Go”, Nasty C name checks Lil’ Wayne as the main influence behind his career, while the music video for “Strings & Blings” also sees him paying homage to the South African rap pioneers who inspired him as well.

Beyond its influence on the actual music, the post-digital era has also altered the way people interact with music by a lot, and even though this has led to a fragmented music space, it’s serves as the perfect crucible for the new generation of stars. Social media and streaming services gives musicians direct access to their listeners, and also the room to appeal to a diverse fan base, without the restriction of location.

With this in real time interaction, artists get to play both sides of the fence, garnering support at home and abroad. We exist in a time where Billie Eilish’s favourite artists is Zlatan, and Rihanna is vibing to Rema’s “Dumebi” on her Instagram live, so clearly, the music is moving. Following their respective debut albums, Odunsi and Lady Donli went on mini-UK tours; Tems was a fixture on a number of huge stages during last December’s festivities; Rema performed at the recent all-star weekend; Nasty C’s Ivyson Tour took him around Europe; and Santi was on two major U.S festival stages last year.

For all these feats, this set still has more to accomplish in order to surpass the currently dominating set. Considering all they’re already doing, there’s every indication that the ride’s only going to get better and bigger as time goes by. Whatever lengths they take it to, it’s sure that they’ve already set a high bar for coming generations—it will only get higher with time.

[Featured Image Credits: Instagram]

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

AFROPOP ON THE RISE: THE 2019 REPORT

Songs of the Day: New music from Mayorkun, Teni, $pacely, Suté Iwar & many more

Posted on by Tami Makinde

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 Monday, we have a lot of material to work with from all our faves. Last Friday, we brought you new releases by a diverse set of artists,  from Higo & Hvrry’s new singles with Buju, WANI and Minz to Nissi Ogulu updating her confident anthem, “Trouble” with a video. Joeboy, Kida Kudz, The Cavemen, and Straffitti also released new music to usher us into the weekend. To start the new week, we now have new music from the self-proclaimed Mayor of Lagos, Suté Iwar, AYLØ, Fasina, Mojo, Seki, $pacely as well as newcomer, WhoIsAkinn and a quarantine playlist from Teni and DJ Neptune.

Mayorkun – “Of Lagos”

Mayorkun has always regarded himself as the self-proclaimed Mayor of Lagos and since releasing his viral hit single “Geng” earlier this year, he’s been itching to release another jam where he repeats the phrase ‘Of Lagos’ numerous times. Over the infectious drum-led beat laid down by Fresh VDM, Mayorkun brings out his skilled singing chops, switching the clear, sharp raps for a more mellow passionate croon of his experience coming across a beautiful woman, an angel if you would.

Teni & DJ Neptune – “Isolate”

Teni the Entertainer and DJ Neptune have served up a 4-track curated ‘Quarantine Playlist’ to get everyone through all the time we’ll be spending indoors over the coming weeks. On “Isolate”, the second track off the mini project, Teni and DJ Neptune deliver a romantic drum-led love anthem on which Teni croons about the importance of isolating while being in love. ‘Lock me down, take the keys/let’s isolate just me and you’ she sings, giving clear instructions to her love interest to observe the recommended social distancing requirements with her.

Fasina – “GTA” featuring Seki SuperVillain, JoulesDaKid and MOJO

We’re seeing more of rap Fasina since the year began when he dropped his single “Stacks (Story Tell)” and now it seems he’s not relenting anytime soon. For his new single “GTA” he enlists a slew of skilled rappers from MOJO and JoulesDaKid in Lagos to Dubai-based Seki SuperVillain. Seki takes over the song’s chorus where he sing-raps ‘All my life, I swear it feel like GTA’ referencing the popular action-adventure video game. We also get to hear more of MOJO’s profane boasts as he packs an onslaught of wordplay that leaves us also referring to him as ‘Orisa the hip-hop avenger’.

Suté Iwar – “Real Love/Teary Eyes” featuring AYLØ

Suté Iwar unexpectedly dropped two singles over the weekend featuring our fave crooner, AYLØ. The first track “Real Love (Remix)” sees Suté starting off his verse with clear cut confident raps, before switching for a mellow melodic hook where  he addresses a love interest about believing that their love is true. ‘If it’s real then it should last/if it doesn’t know that imma always have your back’ AYLØ rap-sings on the second verse, reassuring his lover of his commitment. On “Teary Eyes” AYLØ begins the track with his signature euphoric drawl, and Suté joins him singing ‘Is it game over/we ain’t over’ offering the flip-side of the first release, as tensions now leave them teary eyed.

WhoIsAkinn – “Magic” featuring Olayinka Ehi

Over the Easter weekend, you couldn’t look on your social media timeline within coming across the unified support and promotion of WhoisAkin’s debut EP ‘Full Moon Weekends’ from close friends and supporters. There’s no denying the star quality and his single “Magic” featuring Olayinka Ehi is proof of this, as WhoIsAkin croons about a relationship gone sour that at once felt like magic but now has been rubbed of all its light. ‘You do some crazy things when you love somebody/I feel like I’m drowning’  sings Olayinka Ehi, her strong vocals spilling emotions which we’re all sure to resonate with at some point.

$pacely – “Paradise” featuring Dani Draco

Ghanaian artist, $pacely has been on our radar for a while, and is definitely one of the artist to watch out of the Ghanaian music scene.  Over the weekend, he shared a new single “Paradise” featuring Dani Draco, a follow up to his debut project ‘Fine$$e or Be Fine$$ed’, as both artists turn inwards and tackle fame and pain with sharp, clear raps.

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

ICYMI: Here’s all the new music you may have missed from last Friday

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”.

https://www.instagram.com/p/B-g5h79nrkj/

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

Wojumi is a bad bitch and she’s going to brag about it. Tweet her your favourite female artists @dewoju

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.

https://www.instagram.com/p/B-zCqkUl5aj/

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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Featured Image Credits/@cruelsantino

Wojumi is a bad bitch and she’s going to brag about it. Tweet her your favourite female artists @dewoju

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

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