To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of the month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to shine a light on the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own.
In 2018, Marvel Studios released its 18th film in the Marvel Cinematic Universe ‘Black Panther’ to rave reviews and historic box office sales, grossing over $218 million in its opening week internationally. The film was a cultural phenomenon and a love letter to black culture. Accompanying it, came a soundtrack helmed by Kendrick Lamar.
The lyrics thrust listeners into the fantasy world of Wakanda where Kendrick Lamar enlisted the talent of African artists, pairing them with his TDE label-mates, in a bid to bring the film to life through rap. Amongst these artists was South African rapper, Yungen Blakrok, a Johannesburg-based artist who has proven to be a defiant and formidable MC. Over the bass-thumping “Oops” featuring Kendrick Lamar and Vince Staples, Yungen raps ‘Flowers on my mind, but my rhyme style sinister’ giving listeners a glimpse into her world where she disregards the status quo and forges her own path as an alternative rapper within the South African music scene.
This collaboration isn’t even half of what Yungen has achieved since she started her rap career. Her 15-track debut album ‘Return of the Astro – Goth’, channeled mystical afro-futuristic sounds as Yungen dealt with themes like astrology, spirituality, ancient world cultures, space and astronomy. On “House of Ravens” she takes on a dark and sinister stance, rapping about death, her clever wordplay and the darker traits she possess like anger.
Yungen’s influences are deep spitters from the 90s American hip-hop era like Organized Confusion, Def Squad and Wu-Tang’s RZA and GZA. It’s no wonder her style of rapping is terse and covers wide complex matters that she define her very quirky personality. Last year, she released a follow up to her debut, ‘Anima Mysterium’, staying true to her knowledge and fascination with travel, space and time. Standout cut “Morbid Abakus” sees her continuing her poetry-style flow as she raps ‘I’m silent-bomb-type, exit like Houdini you couldn’t see me’ boasting about her mastery of her flow and slippery tongue bars that are laced with complex allegories.
Earlier this month, to celebrate International Women’s Day, British-Ghanaian singer, Kwaku Asante released a live version of one of his most popular songs “Sunday”, as an ode to black women all over the world. Thanks to his strong vocals and the generally chilled vibe of the entire video, this version of the song quickly became a favourite, and now, he’s released an audio version for everyone to enjoy.
Kwaku is a storyteller, who is vividly narrating his journey to self-discovery through music. “Sunday” was originally released on his 2019 EP, honeycomb, and is without a doubt one of the project’s standouts. On “Sunday”, Kwaku narrates an ideal Sunday with his lover, whilst professing love for her and showering her with compliments. His raspy voice stands out against the live band’s impeccable arrangement, which makes for the perfect serenade while you’re in self-isolation.
The 6-track EP which housed this soulful song has many others of the like, where Asante’s vocals are the star of the show. He belts out melodies which hit you at the core, singing relatable lyrics that will definitely keep listeners interested in the entire project. Ranging from topics about self confidence to romance, there’s a song in there for everyone and you should check it out if you haven’t already.
Zamir’s bestsongs compel you to run them back one more time, until you lose count of how many times in a row you’ve played the particular song. The rapper and ex-L.O.S member uses drilling as a potent tool, repeating and reciting his lyrics in a hypnotic manner which blurs verses and hooks into strangely alluring music. “Ordre Du Jour”, his newest single, is an instantly catchy piece of chant-rap that immediately stamps itself into the listeners’ recall sheet, for all the right reasons.
Performed in a mix of French and English, “Ordre Du Jour” obscures some of itself from those of us who never took our French classes serious when we were younger. The trip of it, though, is that it feels like a big flex by Zamir, as his turns of phrase between both languages are seamless. With a title that translates into “Order of the Day”, and lines like “rolling with the same guys since like five/never told no lies”, the song feels like a reiteration to one of his most important guiding principles: keeping the circle tight while enjoying rockstar lifestyle.
The thing is, on a visceral level, “Ordre Du Jour” absolutely slaps. Zamir has always known how to pick beats that compliment his positively haunting voice and deadpan delivery, and the production on his new single does that to full effect. A dramatic violin string riff, buzzing piano strings and bombastic house synths accompany Zamir’s set, giving the song its fun-inducing tone. You may or may not understand everything Zamir is saying, but one thing we know is you’ll be staying for everything else.
Listen to “Ordre Du Jour” here.
Featured Image Credits: Instagram/kingzamir_los
[mc4wp_form id=”26074″]
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
The fast and furious pace of new music releases makes it hard to keep track of all different new sounds 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 platforms and subgenres 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.
On Monday, we brought you new releases by a diverse set of African artists, including Timi Dakolo, Olamide, Kwesi Arthur, Efya, Tulenkey and more. Today, we’re recommending new music from South African rapper, Dope Saint Jude and Nigerian rappers, Naira Marley, Dremo, YCee, Sinzu and Blaqbonez. We also have the new Major Lazer remix for Rema’s “Dumebi” and new music from Oxlade who has announced that his ‘Oxygen’ EP will be available on the 27th of March. You’re welcome.
Dope Saint Jude – “Go High Go Low”
South African rapper, Dope Saint Jude uses her music to preach the much needed gospel of racial and sexual equality. Her newly released “Go High Go Low” is an activist anthem which finds her celebrating her passion and drive; “I am committed to finding my bliss and for this, I am willing to die”. Fakear, Pouvoir Magique and Einki produced the catchy hip-hop beat, which adds an extra bounce to Dope Saint Jude’s empowering message while the accompanying video directed by Peri also buttresses her confidence through the marching band outfits, religious imagery and car drifting scenes.
Naira Marley – “Aye”
Since they first linked up on “Japa”, Naira Marley and Rexxie have become quite the pair. The duo have now teamed up for “Aye”, a new street-hop jam that embodies Naira Marley’s ‘no-mannerz’ attitude. Singing his Yoruba lyrics—“Aye yi o le(Life isn’t hard)/ Aye lo mu aye le(People make life hard)”—with a melody that gives the impression that he’s drunk, he is able to speak uninhibitedly against society and those who have falsely accused him; “Ni gba ti mi o jale(when I haven’t stolen)”. It makes “Aye” the perfect song to play at clubs where intoxicating drinks are sold.
Oxlade – “Away”
Oxlade is finally set to release his debut project, ‘Oxygene’ on the 27th of March after building fans’ anticipation since he broke into the mainstream nearly 2 years ago. Collaboration with Juls, DJ Tunez, Melvetto, Blaqbonez and others have made his endearing falsetto a familiar guarantee of quality Afropop, as he built a notable following despite only having a handful of singles. His catalogue just got updated with “Away”, the first song from the 6-track EP which finds Oxlade professing love for his muse over the lightweight highlife beat produced by Spax.
Blaqbonez – “Haba”
Blaqbonez’s personality as an internet troll doesn’t take anything away from his reputation as a rapper. In fact, he marries both attributes successfully with campaigns like his ‘Best Rapper in Africa’ where he intentionally makes inflammatory statements to trigger people and steer conversations. In a similar fashion, his new single, “Haba” capitalises on the reaction to the video he shared on Twitter confessing his addiction to watching twerk videos on Instagram. “Haba”sounds like the soundtrack to nights spent at the strip club, as he gives a graphic description of his experience with an enthusiastic dancer; “Say make she calm down/ But she say she wan whine until man die”. The accompanying video directed by TG Omori sticks to the script from his lyrics as we watch Blaq get several lap dances.
Dremo – “Faaji” Feat. Sinzu, Ycee
Sinzu, Dremo and Ycee are some elite rappers who have ensured that the Nigerian rap scene doesn’t live in the shadow of Afropop’s mainstream acclaim. Each artist has had commercially impactfully hit songs and have now brought their efforts together for “Faaji”, a rap song with all the alluring attributes that make up Afropop. Vstix produced the flute-led beat for “Faaji” and the groovy beat inspires confident rap verses from Dremo Sinzu and Ycee who rap from their perspective as celebrities trying to pick up women in the club.
Rema – “Dumebi Remix” Feat. Major Lazer
Rema has released a new remix for “Dumebi” as we approach the first anniversary for his self-titled ‘Rema’ debut this Sunday. The song already enjoyed a dominating run in African music charts, playlists and radio through most part of last year, but now it seems to have grown more wings as it travels to the rest of the world on the back of international remixes. Becky G initially jumped on the first remix last month before Norwegian Dj and producer, Matoma made the EDM remix that came out earlier this month. It’s hard to improve on a great song but Major Lazer’s “Dumebi Remix” upgrades the Ozedikus produced beat with vibrant Caribbean dancehall drums and synths that highlight Afropop’s harmonious attribute.
[mc4wp_form id=”26074″]
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
Three years ago, we reminded you guys that Obesere did all of it first, in terms of outlandish behaviour that seems to get members of the alté community in trouble with Nigerians today. Now in 2020, his career is seeing a renaissance of sorts, which has led to a series of interviews, a possible tour (if our oga at the top right now, ‘Rona permits), and now a remix to “Egungun Be Careful” featuring Zlatan.
Where Obesere’s original 3-part song, will thrive at owambes all over the country, this remix with Zlatan is set for mainstream success, following his out-of-the-blue resurgence in our generation. The Fuji veteran caught everyone’s attention this year, with clips of the quirky accompanying video for “Egungun Be Careful” littering the streets of Twitter.
The focal point of Obesere’s original song, simply aims to let everyone know to watch out for unexpected obstacles as they go about their activities, otherwise you’ll run into trouble like the egungun who ran into the expressway. You won’t even notice that you’ve been listening to for 20 minutes – it’s a 3 part song spanning over 28 minutes and many different beats – regardless of whether you understand what he’s saying.
The much shorter remix with Zlatan is more suited to today’s mainstream audience. While Obesere does most of the heavy lifting with a newer version of the original, Zlatan adds a catchy hook and sparse ad-libs to give the song a special 2020 flavour.
Since he broke out two years ago, Zlatan has showed off his range and lyrical dexterity through his collaborations with heavyweights from Naira Marley to Burna Boy and debut album ‘Zanku’. Being the current bridge between the streets and mainstream, his talent is a good mix of everything we need: sound rap, humour, catchy melodies and let’s not forget his inimitable ad-libs.
We’re excited to see how this pans out for Obesere’s career, and to see who else he collaborates with over the next few months.
In a three-part series, The NATIVE breaks down the different unseen facets that go into making a song: songwriting, song sampling and sound engineering, in a bid to pronounce their place and importance in creating a functioning ecosystem in the music industry.
When it comes to music, beauty is in the eye of the beholder, and how everyone feels about quality is quite subjective. In this murky territory, the sonic basis of the song is probably the closest thing to an empirical factor in determining the quality of the music. It’s easy to debate things like the efficacy of the melodies, lyrics, vocal performance and instrumentation, but the argument dials down a bit when considering how well the music is polished off and finished.
This is where mixing and mastering comes in – an oddly and sorely underrated part of the music making process. Usually, the vocal artists get a significant amount of the praise when a song comes out, followed by the producers. Sound engineers, however, who are entrusted with making sure the moving parts are fused together to ensure listeners get an acceptable song, are far less recognised.
“Some people might not see where sound engineers come in, but the thing is, the volume where an artist records a song is not ideal for commercial listening”, Alpha Ojini—rapper, producer and engineer who’s mixed music for M.I Abaga, Blaqbonez, Ycee, Bella Albubo and more—explains to me over the phone.
You’d be wrong to think that mixing and mastering is just about increasing or decreasing volumes. In the early parts of our enlightening conversation, he breaks down the basics of what this stage is, explaining that it involves synchronising the vocals and instrumentals, taking note of the direction the artist and the producer were aiming for while making music.
You might think this all sounds very simple, but there are a bunch of technicalities involved in taking a newly recorded piece to a full-fledged song, especially in the era of easy access to mobile, makeshift equipment. Before the technological advancements that enabled artists to record their music wherever they wanted to, properly set-up studios were the go-to places to record, with the resulting song depending on the quality of equipment. These days, there’s a convenience and spontaneity to making music, since more people can buy and set-up gears in the comfort of their homes, however, the downside is that recording music in an uncontrolled environment complicates turning a demo into a commercially ready song.
In Afropop, artists like Davido and Zlatan are known for sharing videos of their recording process, some of which happens in makeshift spaces rather than in studios. While recordings from both places need to be mixed, one requires more effort from the sound engineer.
“Usually, engineering is garbage in garbage out”, Alpha says. “Your work is easier as an engineer if the recording was done in a studio area that is closed off to external noise; most of the problems we get is people recording in less than ideal spaces”.
Fittingly, the same technology that enables artists to record in places that aren’t studios, is coming up with tools to help deal with complications from initial recordings. But Alpha makes a point that the engineer needs to be on top of their game and new updates to make sure they can work with whatever they get. “For someone like me who does this as a hustle, it’s up to me to rise up to the challenges, ‘cos the problems are even more than people recording in less than ideal spaces”, he says, adding that artists and producers will demand that you pull out your best tricks, to ensure that their flawed recording becomes a glossy song.
Alpha Ojini mixing in studio (picture provided by artist)
In addition to clearing background noise and adjusting volume levels, sound engineers have to be specific with their mixing and mastering efforts, with respect to the genre. Midway through our conversation, Alpha mentions the Red Book Code, which specifies the standards engineers work with to ensure that their loudness volumes is appropriate to the music they’re working on.
“For example, there’s a level at which the bass and the snares have to knock, in order for a hip-hop song to be considered dope, and there’s a level for the percussion to slap on an Afrobeats song for it to be standard” Alpha says.
He, however, makes the point that all of this is really subject to listeners’ reception. With that caveat, the code isn’t nearly as absolute, as much as it is a loose guide for engineers, allowing for flexibility and a creative licence that is underpinned by the level of equipment they have. “There are different tools that help some engineers have an edge over others”, Alpha explains. “There are engineers that have thousands of dollars of analogue equipment, and they will be able to crank out more loudness on their mixes than someone who works entirely on a laptop”.
Even after landing the preferred ballpark, though, engineers need to ensure that their mixes fit into the artist’s vibe. Alpha uses the pop sensation, Billie Eilish as an example, noting that her punk-meets-ASMR aesthetic might be totally ruined if an unfamiliar sound engineer was entrusted with mixing her music. This instance pushes the notion that sound engineers are important in helping artists project their voice, and by extension, their distinct personas.
Considering their significance, it’s a shame that sound engineers are not always accorded the same level of reverence as their responsibilities, and Afropop is a special culprit in this case. In places with more developed music industries, sound engineers are respected by fans and celebrated by artists. For his work with heavyweights like Kanye West and Travis Scott, producer and engineer Mike Dean is widely regarded by hip-hop fans as an essential pair of hands in shaping the current sound of rap music. JAY-Z has shouted out his engineer, Young Guru, several times on wax, explicitly immortalising him as an important part of his illustrious career, and the same goes for artists like Future, whose late friend Seth Firkins, helped shape his sound before his tragic passing.
Even when the recognition isn’t outward, sound engineers can gain validation for their work through awards. Every year since 1959, the Grammys have given out awards for Best Engineered Album, in classical and non-classical categories, and they are presented to the engineer(s) rather than the recording artist. It’s an acknowledgement of their huge role in making sure the best music possible is being made. From Nigeria’s Headies to South Africa’s Mzansi Viewer’s choice awards, there’s no dedicated category to mixing and mastering, a portrayal of how undervalued these facets are by fans and stakeholders.
“We actually have people in Nigeria who have been mixing for years”, Alpha offers when I ask him who should judge a mixing and mastering category, since we’re mostly ignorant. “We have people like that in the Gospel music space, you’d definitely find in the alternative space—that’s people who’ve worked with legendary producers like Cobhams Asuquo. These people are living in this same Lagos, and when you go to their studios you’d think you’re outside the country, but it’s just ‘cos they’re super low-key”.
In his opinion, finding those people and convincing them to take the responsibility of judging an engineering will go a long way in improving recognition for engineers, and even raise the standards substantially since there’s a high-valued prize attached.
The truth is sound engineers do the most without really getting their due props, which is quite unfair. With the onus that’s placed on them, and the amount of skill that’s required to pull their job off, it doesn’t seem out of place to equate sound engineers to magicians—or maybe make-up artists, except they don’t post before and after snippets. Regardless of the analogy you prefer, they important thing to know is that they are an indispensable part of making music, and we need to treat them accordingly.
Respect the sound engineer.
Featured Image Credits: Web
[mc4wp_form id=”26074″]
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
We might all be a bit distracted by Miss ‘Rona and all the complications she’s bringing, but let’s not forget that it’s possible in the very near future, that social media may become a less safe avenue for free expression if the Nigerian Senate passes its proposed ‘Social Media Bill’.
Introduced on the 9th of November 2019, the bill titled ‘Protection from Internet Falsehood and Manipulations Bill 2019’ was sponsored by Senator Mohammed Sani Musa, representing Niger east senatorial district, with the aim of regulating the menace of hate-speech and fake news.
Hate speech is regarded as any public statement that ‘expresses hate or encourages violence towards a person or group based on something such as race, religion, sex, or sexual orientation’. Following the rise of the far-right across parts of the industrialised West, and social media granting access to billions of people around the world to share their thoughts in real time, concern has grown with regards to limiting the dissemination of fake news, and the propagation of hate speech.
With the general public calling on social media platforms such as Facebook & Twitter to be more robust in identifying and removing such content from their websites, governments around the world have also tried to introduce policies to combat hate speech. In Singapore for example, it’s a criminal offence to communicate a false statement of fact, and you could get a penalty of a jail term of up to 10 years, a fine of up to $100,000 or both. The bill also levels penalties on social media platforms which fail to emove content or display prominent corrections at the government’s direction. Observers believe that Singapore’s bill was the likely inspiration for Nigeria’s proposed ‘Social Media Bill’.
Senator Musa’s bill, would make it a punishable offence for an individual to transmit a false statement as fact, with prejudice to Nigerian society whether you’re within or outside of Nigeria. This covers the health and safety of the country’s citizens, influences the outcome of an election in Nigeria, amongst many other things. The punishment for this crime being “a fine not exceeding N300, 000 or to imprisonment for a term not exceeding 3 years or to both”.
Many analysts are concerned that this bill, should it be passed through the senate would greatly infringe on people’s rights and could possibly be used as a tool for internet censorship, raising concerns that the bill’s true intentions may be to stifle political commentary and anti-government scrutiny in light of cases against journalists and publications like Premium Times.
A public hearing held on the 10th of March at the National Assembly saw most speakers, ranging from civil groups, government agencies and average citizens, on the day in opposition to the bill, highlighting the fact that the bill could be abused by authorities, essentially violating the Human rights of average Nigerians.
Speaking at public hearing, the executive chairman of the National Communications Commission (NCC) noted that the bill gives unconscionable power to the Police to be the judge and jury of proper internet content. The NCC and the broadcasting organisation of Nigeria (BON), amongst others agreed that most of the bill’s provisions were already captured in previous legislations such as the Cyber Crimes Act of 2015. Speaking further Sa’a Ibrahim, chairman of BON, remarked that the bill is “undefined and misleading”, adding that its purpose was not necessary.
Other groups have also voiced concern and resistance a the bill, a recent exhibition by Terra Kulture was held, showcasing artworks from various Nigerian arts with large social media presence, and encouraged participants and visitors alike to sign a petition against the bill. Protests also held in Lagos and Abuja, in opposition to the bill.
On our part, we can combat fake news by verifying information we receive online, before sharing it to other people.
While it’s important for us to take a definitive stand on fake news and hate speech, especially in a culturally diverse country such as Nigeria, we must ensure that the principles of free speech, and open discourse remain sacrosanct. Nevertheless, conversations such as these are vital to entrenching the values of democracy in our society. The bill has passed through its second screening, and with little public support, it likely will not become law, however we should not rule out a potential resurgence of the policy down the line.
There is an online petition against the social media bill with close to 100,000 signatures. The target is 150,000, you can sign the petition here.
Featured Image Credits: Web/ NATIVE
[mc4wp_form id=”26074″]
Djaji is a creative Vagabond, send me your takes on music and African culture @djajiprime
The sense of community sweeping through the globe in the mess that 2020 has been is far from surprising. Multinational corporations have successfully navigated our interconnected world, and now afropop is starting her own journey, globetrotting through international distribution deals and collaborations like Manny Norte, 6lack, Rema, Tion Wayne and LVRN’s “4AM”.
“4AM” is a marker of how connected the world is today, featuring Rema from Nigeria, 6lack from America and Tion Wayne from UK. The song is British DJ/presenter, Manny Norte’s debut single as a music curator, and the engaging song shows the range of his music taste. All three artists combine their unique sounds over the minimalist pop P2J produced beat, with catchy drum riffs and synth harmonies. The beat makes for the perfect beach party setting, and also manages to fulfil the sensual needs of Rema’s dancehall melodies, 6lack’s R&B vocals and Tion Wayne’s romantic rap bars.
Directed by JM films, the video for “4AM” with a similar summer theme as the song, shows Manny Norte, 6lack, Rema and Tion Wayne enjoying themselves out in Ghana. Just as the song is relaxing, the video also conveys a sense of a tranquility, before it The video closes out at a beach party surrounded by the locals who play football and dance to the song.
See the video for “4 AM” by Manny Norte, 6lack, Rema and Tion Wayne below.
Featured Image Credits: Instagram/tionwayne
[mc4wp_form id=”26074″]
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
To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of the month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own.
Nigerian-American rapper, Chika is not new to viral success and fame. Back in 2017, she made her first hit when she flipped Ed Sheeran’s “Shape of You” into a heartfelt pride anthem titled “Proud”. ‘I will not be ashamed/this is just who I am’ she sang over the chorus, winning over the hearts of many listeners within its release and even gaining her the attention of Ed Sheeran himself.
A year later, she struck again when she delivered a spoken-word diss aimed at Kanye West, following his open support of Donald Trump and controversial comments about black people and slavery. ‘When your check clears don’t forget that your children is still black’ she spits, taking straight jabs at the Yeezus rapper. The video which racked up over 300,000 views on social media, at the time, and also lead to several nods from top artists in the music industry including other female rappers like Cardi B, Missy Elliot and many more.
Chika Oranika has actually been making music for a long time before she became a viral successful, her Soundcloud page dates as far back as 5 years ago when the artist was releasing covers to a number of popular artists from Drake to Wale. Growing up in Alabama with Igbo parents meant that a young Chika had to keep her rapping abilities to herself for a few years, before finding her voice through diss tracks she would write for herself and her friends to ward off bullies. She later dropped out of university to begin pursuing her music career.
This month, the Alabama-native released her debut EP, ‘Industry Games’, a 7-track tape where she works through her personal feelings about the life as a queer Gen Z women the naysayers who did not see her star power. She’s even graced the famous NPR Music Tiny Desk stage like our faves Burna Boy and Koffee before her.
On the EP’s “Intro” she acknowledges her past and where she’s come from, showing her gratitude for her viral success but determined to let her music speak for her. On the EP’s titular track, “Industry Games”, Chika’s clever wordplay and laser-precision flow take focal as she makes sense of two-faced industry mates, snakes and gives a nod to sampling songs. Elsewhere on “Songs About You” her focus shifts, and she raps about being her endearing persistence and her abilities to silence the naysayers despite not having an ‘hourglass figure’.
Listen to ‘Industry Games’ below.
Featured image credits/instagram: oranicuhh
Tami is a lover of astrology, music and women. Tweet your fave female artistes at her @tamimak_
The Nigerian music scene is constantly evolving. While Afropop finally heads for global acceptance, a new generation of artists and producers are taking to the underground phenomenon, street-hop right into mainstream appeal.
Hits like Mr Real’s “Legbegbe”, Junior Boy’s “Irapada”, Small Doctor’s “Penalty” and Olamide’s “Wo” gave us the first tase of this sound’s potential back in 2018, however, these days, artists like Zlatan and Naira Marley are at the forefront of the street-hop revolution, with their songs dominating mainstream Nigerian music and even capturing the attention of international audience. Rexxie has played a key role as the producer who provides them with the canvas for their Yoruba rhymes, ad-libs and street-informed slangs, and now he’s giving us a body of work to cement himself as the architect of street-hop.
https://www.instagram.com/p/B91MmW0Bg_8/
The producer announced on his Instagram that his debut project, ‘Afro Streets: The EP’ is ready for release. Having already secured hit songs like “Japa”, “Able God”, “Zanku (Legwork)” and “Bum Bum” with Naira Marley, Chinko Ekun, Zlatan and Davido respectively, Rexxie isn’t pressed for impressive collaborations. In fact, the pictures on his timeline suggest that Davido, Naira Marley and Zlatan are regular features at his studio. Though the black and white cover art he posted to promote the album didn’t provide a tracklist or list of features, fans expect at least one of the street-hop tastemakers to make an appearance on the EP.
Subsequent posts have also left trails to build fans anticipation as he shared a video of himself and Teni the Entertainer working together at the studio. She performed a spiritually-inclined set over the quirky, yet infectious mix of percussion, hi-hats and traditional drum samples. However, on the off chance that ‘Afro Street: The EP’ is tailored after Sarz’s ‘SINYM (Sarz Is Not Your Mate)’ which featured mostly instrumentals and barely any vocals, Rexxie has proven adept at crafting vibrant grooves that carry all the quirks of street-hop.
https://www.instagram.com/p/B96INarh_zT/
Rexxie has dominated popular zeitgeist by delivering an array of production to everyone from Lil Kesh, to Naira Marley, Zlatan and Davido; His infamous “Rexxie pon this one” tag has been everywhere. Not a bad record for someone who admits he started learning how to produce because he lied to a friend that he could and didn’t want to be caught in the lie. His fusion of purposefully catchy traditional drums and synth percussion has however grown a reputation for filling dancefloors and inspiring new dances that bring a much-needed playfulness the gritty-street.
We still haven’t gotten an official release date for ‘Afro Street: The EP’ but either way, odds are, Rexxie has some great songs in the work that we can look forward to.
Featured Image Credits: Instagram/rexxiepondabeat
[mc4wp_form id=”26074″]
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
Even before the streaming era improved access to music from across the continent, African artists have always sought to gain popularity all around the continent. For Nigerian pop stars, East Africa has always been a receptive zone, and there’s a common narrative among industry types about the high receptiveness of the audience to Nigerian pop music. Mimicking their western colleagues, these days, East African acts are working to improve their prominence on the opposite side of the continent, through continued collaboration.
Like Sauti Sol and Diamond Platinumz, Tanzanian singer Harmonize is a prime example of this phenomenon, and he’s becoming quite the familiar name with his growing list of collaborative efforts with Nigerian artists. In February 2019, Harmonize put out his debut EP, ‘Afro Bongo’, a 4-track project that featured Yemi Alade and Mr Eazi, and spawned “Kainama”, his hit single with Diamond Platinumz and Burna Boy. In addition to the features on his EP, he’s also collaborated extensively with Skales, and has worked with Seyi Shay and Falz. On his debut album, ‘Afro East’, all aforementioned Nigerian popstars, with the exception of Ms. Shay, reprise their assisting role, as the singer continues his quest to link East and West via his music.
In addition to its star-studded tracklist, another selling point for the album is that much of the music is instantly recognisable. ‘Afro East’ is as much a reference sheet to Harmonize’s musical influences, as it is a credit to his ability to adjust into whatever sonic route he’s plying. On the Phyno-assisted “Body”, Willis supplies a sublime mid-tempo beat, and Harmonize fits in with the same slick-mouthed, self-propping shtick as most lust-driven bops from this side of the continent. For the devotional “Wife”, he stretches out his melodies to match his impassioned delivery, a delivery form you can easily associate with Sauti Sol and former label boss, Diamond Platinumz.
Including the Nigerian acts featured, Harmonize brings together a colourful and diverse assisting cast for his debut. There’s Grammy-nominated, Jamaican reggae band Morgan Heritage, who echo the singer’s blue-eyed feel on the EDM-infused “Malaika”; Kenyan rapper Khaligraph Jones contributes a sixteen on the Wyclef Jean-sampling “Die”; while he duets with Yemi Alade over the blaring horns and rolling percussion of “Pain”. To his credit, these features only serve to compliment his fun-loving persona rather than drown it out. Even the guests that come in with an elevating presence—like Burna Boy on “Your Body” and his umpteenth collaboration with Skales on “Rumba”—have a positive effect on the songs without dampening the efficacy of Harmonize’s contributions.
For all of his musical trotting, Harmonize roots the heartfelt moments on the album back to his home. On “Mama”, his ode to mothers, 99% of his lyrics are sung in his native language—“I love you” are the only English words—but his performance echoes a deep reverence that’s quite moving. “Never Give Up” is undoubtedly the watershed moment of the entire album, as he tells his grass-to-grace story over an evocative Bongo Flava beat. Profound turns like this are far and few in-between the lightweight energy of the album, but Harmonize has always fancied himself an entertainer, and that’s standard he lives up to on ‘Afro East’. It’s an entertaining album from an artist who is guided—but isn’t getting carried away—by his crossover ambitions.
Listen to ‘Afro East’ below.
Featured Image Credits: YouTube/Harmonize
[mc4wp_form id=”26074″]
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Last year, Bella Alubo dropped her fifth project ‘Summers Over’, a 10-cut piece featuring artists like Mr Eazi, Zlatan, Ladipoe and many others. On the project, we saw the singer work through the roller coaster of emotions she felt on the course of her romantic relationships, which in true millennial fashion is typically very complicated.
One of the tape’s standouts, “Don’t Trust Geminis” featuring Ezi Emela gained our immediate attention, which earned Bella a spot as the Best New Music in its release week. Now, under Mr Eazi’s platform, emPawa Africa, she has now released the lyrical video for the track.
Bella Alubo is currently chasing a masters degree in the UK, and amidst all of that, she went through the uncertainty of losing management before she found a new one, that lead to the birth of the lyrical video for “Don’t Trust Geminis”. It’s a clear threat to past lovers who have hurt her, as she plays on the astrological archetype of a two-faced gemini who eventually reveals their true darker side.
Bella wields a knife as she sings, “I really can’t believe I still believe your lies”, leaning into hip-hop and r&b influences for a truly relatable bop for anyone who’s survived a toxic relationship. In conversation with Bella Alubo, she reveals to me that she doesn’t even fully believe in astrology. “I only check my horoscope when I’m super confused about something, but then my catholic guilt complex makes me pray for forgiveness right after” she admits, with a laughing emoji. A sentiment most millennials who grew up in religious families will wholly relate to.
She also reveals that the song’s inspiration came from a string of heartbreaks from Geminis, but explains she isn’t writing off the whole astrological sign completely, as there are genuinely some good ones left, like her father.
Watch the video for “Don’t Trust Geminis” below.
Featured image credits/BellaAlubo
Tami is a lover of astrology, music and women. Tweet your fave female artistes at her @tamimak_
SoulBlackSheep broke into the music scene in 2018 with his debut album, ‘Ecstacy, Just Chill’. The soulful R&B tracks instantly captured the attention of music fans as he mixed English and Yoruba lyrics over minimalist lo-fi instrumentals. He got fans hooked on the rare new sound they couldn’t get anywhere else, before it became clear that he was one of those reclusive artists whose releases only come once in a blue moon. We’ve continued to anticipate his sophomore album since, but he has released a new ‘It’s Just Loneliness’ EP to ease the yearning and offer new insight into his devastatingly introverted life.
https://www.instagram.com/p/BcqAGKMH4dg/
“You Are My Home” is the opening song on ‘It’s Just Loneliness’ and it’s addressed at a distant lover. His lyrics, “Sho ma pada wale oh(Would you return home)?”, over the sparse lo-fi production suggests a person in a small apartment with only a keyboard, a guitar and thoughts for company. He leans into the charming seduction of r&b to convince his love interest on the next track, “Honey For Your Cake”. While his lyrics are direct—“I love you cause I know you got cake/Pretty girl, give me some cake/You know this cute boy horny for your cake”—it speaks to his ability to wield his sensual passion with elegance.
The highlight for “Stuck in the Sky” is the woozy, chopped and screwed-down beat reminiscent of a Sango beat. His auto-tuned vocals, synths samples, 808 drum riffs and samples of video game sound effects create an otherworldly ambience that fits the astronaut in space direction of the cover art and his lyrics; “O to ojo meta(It has been a while)/ So I decided to write you a letter”. The melancholy from being alone slips out on “Stuck in a Cage” but his confidence returns on “Raised by the Internet”, where he brags about not giving a fuck what people think about the life he’s living and featured a rap verse from WeTalkSound member, VRSD.
“Monsoon” is an intimate and richly emotional love song that finds SoulBlackSheep confessing his sultry intentions for his lover. However, he returns to finding solace in sorrow on the closing track, “It’s Just Loneliness”. Chanting “Loneliness, it’s just loneliness” over the ethereal beat creates a quiet meditative space that’s perfect for the self-isolating days ahead of us while the world deals with the effects of the Coronavirus pandemic.
Stream SoulBlackSheep’s ‘It’s Just Loneliness’ below.
Featured Image Credits: Twitter/soul_blacksheep
[mc4wp_form id=”26074″]
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
To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of the month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own.
23-year old Kenyan singer Xenia Manasseh is a with a pretty impressive track record: she’s sang backup for Gloria Estefan and Beyonce’s background singers, the MAMAs, opened for Rema’s first Nairobi show, dropped her debut EP and recently been selected to be part of Mr Eazi’s emPawa music program this year.
The fast-rising star, who is also a Berklee College of Music alum has actually been drawn to music since she was a child, taking up a string of musical instruments from the piano to the drums and even the guitar. But her decision to commit full time to the music did not come for several years, when a then 17 year-old Xenia gained admission to the prestigious Berklee College of Music in Boston. During her years there, she found a tribe of other Kenyan women connected by their heritage, lost all her belongings in a devastating fire and move to Atlanta to sign under The UpperClassMen music group (an indie record label of Grammy-winners producers, Ayo and Keyz.)
Now she’s moved back to Kenya and is gearing up to take on the scene out there. She’s been actively working on and releasing music for over two years according to her Soundcloud page. On “For Your Consideration”, her voice rolls out ever so softly over the guitar-led beat, which leaves room for her vocals to gain your attention. On the track, she croons about fear and doubt, and recognising your worth early before you become set in your ways. Elsewhere on “DON’T GO”, she links up with producer duo Ayo and Keyz to deliver the perfect relatable tune to any romantic relationship heartbreak.
Her 2019 debut was actually meant to come two years prior, but it was not the right time as she ran into many complications. Xenia eventually unwrapped her sonically-charged project ‘Falling Apart’ after falling into the team that would help bring it to life effortlessly after her time at Berklee. In an interview with Okay Africa, Xenia said “everything I needed for it just happened. People came into my life and were like “I really want to work with you” and we ended up helping each other out. That’s alignment.”
The 6-track tape sees Xenia work through a range of emotions as she mourns a relationship gone sour, “See Me” the EP’s opener finds Xenia at her most vulnerable as she pleads with a love interest to show just how much his affection is for her. This same longing is seen on “Don’t Go” as she regrets ending a relationship because her love interest is the only one who gets her. On “When It’s Over” Xenia’s buttery smooth vocals muse the inevitable end of her relationship, but not without acknowledging how susceptible she is to falling for his tricks again.
If you love r&b then you’ll love Xenia Manessah.
Featured image credits/instagram: diaryofjose
Tami is a lover of astrology, music and women. Tweet your fave female artistes at her @tamimak_
Back in 2018 Nigerian-American rapper, Chika Oranika hit gold when her freestyle calling out Kanye West for his controversial statements on slavery and support of Donald Trump racked made viral her a viral success. This lead to several nods from top artists in the music industry like rappers, Cardi B, Missy Elliot and many more.
Now, the rising star is the next artist to grace the NPR Tiny Desk stage. Chika works through several tracks from her new EP ‘Industry Games’ including its titular track. In the 18-minute performance, she weaves seamlessly through the different tracks aided by a Peruvian cajón, as she lets her clever wordplay and impeccable flow take focal point. The perfect melodies from her backup singers add to the incredible ambience of her performance, and show off Chika’s overall bubbly personality and hard-hitting bars.
To commemorate Women’s History Month this year, we will be spotlighting a new female artist every day of the month. Some of these women you may know, others you may have heard of and some will be entirely new discoveries. The aim is to spotlight the remarkable young women from around Africa, who are finding their feet through music and giving women a voice of their own.
In the late 2000s, after the success of “Don’t Upset the Rhythm (Go Baby Go)”, singer and bassist, Shingai Shoniwa, accompanied by Dan Smith on the guitar, ruled the British Pop charts as the frontwoman the indie rock band, Noisettes. Following the aforementioned hit single, came another inescapable banger in the UK airwaves, “Never Forget You”, and even a soundtrack placement in the cult phenomenon Twilight Saga (“Sister Rosetta” in Breaking Dawn Part 1 (2011)). Unfortunately, the Noisette’s reign didn’t last much longer after that, their third and final album, Contact (2012) peaking at 30 on the UK Charts.
Last year, after nearly a decade off the map, Noisettes’ frontwoman, Shingai Shoniwa stepped into the fold once again, launching her solo career with a vibrant four-tracker, Ancient Futures. Created transnationally – from South Africa, to Italy to the UK, and Zimbabwe of course – Ancient Futures, with its befitting title, borrows from traditional African styles, intertwining 70s and 80s South African rhythms with contemporary pop synths.
Raised in London, Shingai has always been in tune with her Zimbabwean culture, in particular with the music of her homeland. She tells The List:
“Music is a huge part of black identity in the UK and culturally it has given birth to countless subcultures such as reggae, sound systems, soul, jazz, rock’n’roll, garage and punk. I was really lucky to grow up in a household which celebrated all of this music and more. Music has played a massive part in uplifting the community I grew up in and bringing together people from all walks of life.”
As well as bringing people together through her unique fusion of sounds, Ancient Futures is also an empowering body of work for Shingai’s diaspora kin, who are encouraged to embrace one another other as home on the opening numbers “Coming Home” and “Zimtron”. Preaching non-conformity on the closing track, “Champion Styles”, Shingai also discusses being enlightened and realising one’s political power as an individual, suggesting we exert this power against the system through “Revolution”.
Ancient Futures, like all Shingai’s music, is designed to get people on their feet, but amidst the chirpy beats and uplifting lyrics is an awareness of the socio-political environment that surrounds her.
“There’s still a dark side which I think we can address and do a lot better in, in terms of inclusion. As a female, person of colour, I’ve not experienced much change in that. I still feel that I have to work really really hard just to maintain a job, just to get the support from publishers and certain parts of the industry.”
“It still feels like there are quotas, only a certain [number] of girls let in. I think the pie-chart still needs to change because, at the end of the day, people still want amazing music.”
This coming from a veteran in the pop music industry is clear proof that we need to do more to support women – especially African women, who tirelessly put in work, despite the rewards being less than that of their male counterparts, for no reason other than the fact that they are women. Shingai demands better from the executives in music business, but, as consumers, we must not forget our own complicity in upholding patriarchal systems that deliberately leave women out of the picture. We must all do better. We should all be the change Shingai expects to see.
Stream the solo debut project here:
Featured image credits/Africa Express
Wojumi is a bad bitch and she’s going to brag about it. Tweet her your favourite female artists @dewoju
Classic jazz arrangements and highlife harmonies weren’t always natural partners, until Fela decided he would inspire the world with his Afrobeat compositions. His sound married his indigenous and foreign influences before he added on lyrics that preached the traditional cultures he believed in with the enthusiasm of an activist. It made him the perfect voice to speak on the social-economic and political climate of the times.
22 years after his tragic death, Fela’s music continues to be timeless as the track, “Water No Get Enemy” from his 1975 album, ‘Expensive Shit’ resonates with the global chaos plastered all over the news today. The 9-minute track gave him room to show off the depth of his lyrics, while also stretching the range of his Afrobeat instrumental arrangement. The fluid mix of highlife guitar baselines, horns harmonies, percussion and his enchanting call and response melodies matched the lyrics’s theme, which stress the medicinal importance of water.
Singing “To ba fe we, omi loma lo/If you want to wash, na water you go use”, the ode to water seemed to compare the indispensability of water to Fela’s resilience in the face of oppression. However, those exact lyrics could be the difference between good health today and possibly contracting the Coronavirus spreading across the world.
‘Rona has captured the entire world’s attention and is getting more of it by the day, affecting the daily lives of so many people all over the world. The fear of spreading the COVID-19 has forced many regions in the world to restrict the movement of people both across borderlines and within local communities. Though African countries like Ghana and Rwanda have enacted curfews and closed down public gatherings and such, the Nigerian government seems to be placing a lot of faith in the hand sanitising and washing hands.
Well, Fela has been telling us.
Listen to “Water No Get Enemy”.
Featured Image Credits: Web/zammagazine
[mc4wp_form id=”26074″]
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
Regardless of the complexities and recent controversies surrounding his legacy, one thing you can’t take away from M.I Abaga is his dedication to craft. In the earlier, blooming days of his career, the rapper straddled the line between mainstream-ready rap music and ‘true school’ hip-hop by partitioning his approach to albums and mixtapes—the former was packed with afropop-indented rap songs and the latter featured re-purposed samples and no frills rapping.
These days, though, he’s seemingly blurred that line, opting to make music that focuses on his strengths and doesn’t explicitly appeal to the mainstream. It’s a direction that’s most likely informed by his status as a rapper who’s been mentioned in the same breath as the biggest Nigerian pop stars, however, his recent projects are proof that he’s not taking this luxury too lightly. ‘Judah’, his most recent project, features some of the most awe-inspiring raps in M.I’s career so far, and his latest guest appearances—like on Efe Oraka’s “Zion” and Dark Poet’s “Ripple Effect”—are impressive proof of an artist enjoying a new crest.
An intriguing part of this creative renaissance is that M.I seems to be reaching back to his previous work for new tweaks. We cannot tell exactly when it happened, but M.I recently updated “Last Night I Had a Dream About a Hummingbird”, a deep cut off his 2018 studio album, ‘A Study on Self Worth: Yxng Dxnzl’, on all streaming platforms except YouTube. The change mainly centres on the introductory part of the song, and although the sole verse and robotic EDM beat remain unchanged, this modification seems to carry some significance.
The initial version of “Last Night” opens with the voice note of a lady who confesses her physical insecurities, relating its effects on her mental health and self-esteem. In the updated version, M.I opens the song with a sound bite that seems culled from a TED talk, in which the speaker bemoans the unnecessary pressure of comparing one’s self with other people, especially in the internet era where many people only presents the glossy side of their lives. Both intros are appropriate lead-ins to M.I’s verse aimed at uplifting both the listener and himself, but the change alters the context a bit. Where the lady’s desolate chatter serves as a relatable point for the weaknesses many people harbour about themselves, the new intro is more forthright with its bracing perspective.
Each person’s preferred version will depend on personal tastes, but the broader picture of this adjustment is that it could only happen in the streaming era. During the period when physical and digital purchases were the only mode of music consumption, this change would be pointless since those who already own a copy of the album wouldn’t be able to listen to the new version without purchasing another version of it.
The strongest precedent for this M.I tweak is Kanye West and his 2016 album, ‘The Life of Pablo’, an album Ye described as ‘a living, breathing organism’. Kanye made this description while explaining that the album would continue to be fine-tuned even after its release, as a way toying around with the infinite opportunities streaming represents. After its chaotic roll-out and eventual release, ‘TLOP’ continued to receive updates as promised, including slight tracklist moderations, mixing and arrangement re-touches on songs like “Famous” and “Fade”, while there was also the integral addition of the Sampha-assisted “Saint Pablo”, four months after the album’s initial release.
A run through ‘Yxng Dxnzl’ doesn’t reveal the same level of drastic tinkering as Kanye’s album, but the tweak to “Last Night” sets a notable example for other African acts looking to make changes to already released music, whether silently or explicitly. Usually, the trope is that music reaches its final creative stage once it officially reaches the ears of the masses, but it clearly doesn’t have to be like that in this time and age. In fact, for those who will indulge, it will serve as a way to engage listeners, incentivise future revisits and challenge our perception of the bounds of the artist’s creativity.
Listen to the updated version of “Last Night I Had a Dream About a Hummingbird”below.
Featured Image Credits: Web
[mc4wp_form id=”26074″]
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Following a successful debut edition in 2019, Uganda’s 256 hip-hop award is returning for a sophomore edition on May 15, 2020. According to the organisers, The Kulture 256 and the Konnected Foundation Inc, the award show is dedicated to uplifting Uganda’s most underrated genre. Similar to many African countries, the prominence of rap music in Uganda dwarfs that of the local flavours of Afropop, and it’s not for lack of talent or a dearth of music from home-bred rappers.
With the 256 hip-hop awards, the Ugandan rap scene has created a safe space to celebrate the best music from the previous year, while also extending the genre’s reach via the conversations that the award show will generate. The existence of the 256 awards is also laudable, considering that South Africa is the only country with a dedicated award show. Compared with SA’s far more organised and internationally acclaimed scene, Uganda is clearly a few steps behind, but the stakeholders and enthusiasts are taking the initiative to drive their scene forward, which is more than can be said for most rap scenes in Africa.
Looking to do it on a bigger level, the second edition of the award show will take place at the National Theatre (UNCC) in central Kampala, an upgrade from last year’s edition which held at the Laftaz comedy lounge. The organisers have also expanded the categories for this year’s awards to include Best South Sudan rapper and African rapper of the decade. The later of these new categories, which is open to veteran rappers across the continent, will be based on what the chosen rapper has done for hip-hop music in Africa over the course of the previous decade.
While most of the categories at the 256 hip-hop awards is dedicated to the country’s local acts, the inclusion of an African rapper of the year category lends the award show a pan-African appeal. This year’s nominees in that category features ten artists from six different countries, including South Africa’s Nasty C and Youngsta CPT, Sierra Leone’s Kao Denero, Kenya’s Khaligraph Jones, Ghana’s Sarkodie and Lyrical Joe, Cameroon’s Jovi, Nigeria’s M.I Abaga and Blaqbonez, and Uganda’s BigTril (of “Parte After Parte” fame). By virtue of these diverse nominees in this competitive category, the 256 hip-hop awards is a celebration of the great rap music being made by Africans in Africa.
Check out the full list of nominees for the 2nd 256 hip-hop awards here.
[mc4wp_form id=”26074″]
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
If there’s anything to take away from Olamide’s recording and distribution deal with Empire, it’s that Olamide’s all-star legacy is continuously being written by the minute. He might be late to the conversation about afropop’s global takeover, however, he has enjoyed a dominant presence in mainstream Nigerian pop culture since he broke out in 2010.
The Yoruba-fueled raps on Olamide’s debut, “Eni Duro” earmarked him as the chosen rapper to fill the very big shoes DaGrin left behind when he passed. At first, the constant comparisons to the late rapper gave the impression that Olamide would always live under his shadow, however, over the years, he has continued to explore the range of Yoruba lyrics and expanded the narrative of indigenous Nigerian rap to nationwide acclaim. When he formed an alliance with Eastern Nigerian rapper, Phyno, on ‘2Kings’, the joint tape established the nationwide acclaim for indigenous rap, as they bridged the gap between the regions with indigenous lyrics that resonated with fans from all over the country. Until today, fans credit the album for setting up the mainstream spotlight street-hop artists like Naira Marley, Zlatan, Zoro, Erigga are still enjoying today.
Olamide’s 4th studio album, ‘Eyan Mayweather’ revolutionised the sound of the street and solidified his influence as a hip-hop and pop superstar. The success of 2015’s “Bobo” translated to awards and sold-out bookings for his annual live show in Christmas, whilst placing the power in his hands to set the new dance trends like the Shaku Shaku which became a worldwide phenomenon.
Whilst building a name for himself, Olamide also contributed to the next generation of home-brewed artists with his eye for talent and ear for good music. His record label, YBNL has an impressive track record for being an incubator and launching the careers of notable artists like Lil Kesh, Adekunle Gold, and most recently, Fireboy DML. These artists dominated popular music zeitgeist, attesting to Olamide’s ability to shape the culture rather than keeping up the pace with his other peers. The same sentiment is true for his latest album, ‘999’ which featured more new names, where we see him ditching his commercially accomplished street-savvy raps for plain and simple conventional rap.
His infamous speech during the 2015 Headies also highlighted his ability to turn the industry on its head as he dominated the popular conversation for weeks when he said “Every song was a hit back to back”. The Twitter streets were also littered with other things he said during the explosive exchange with Don Jazzy, such as “Leave Trash For LAWMA”, and “Don’t come to the mainland“. These statements went on to become pop culture euphemisms of sorts and will still spark fond memories with anyone today.
The dance challenge he started for “Wo” also led the path for the virality of the Shaku Shaku, which trended throughout social media from footballers’ celebrations when France won the World Cup in 2018 to Swizz Beatz living room speakers. In addition to this, he also tries to pass along useful and didactic messages to his young audience, and he demonstrated his socially conscious range on “Science Student”which initially got some backlash upon release, but set the ball rolling for the government’s ban on codeine later that year.
Over the past decade, Olamide has made sure to rake up the number of hits songs credited to his name and cemented his dominance over the last decade in the mainstream, indigenous rap, pop culture, and also in business. Olamide is starting the new decade with a shiny legacy of critical and commercial success and his recent international deal proves he’s an illustrious pop icon and not a local champion.
Featured Image Credits: Instagram/Olamide
[mc4wp_form id=”26074″]
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
The fast and furious pace of new music releases makes it hard to keep track of all different new sounds 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 platforms and subgenres 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.
Last Friday, we brought you new releases by a diverse set of African artists, including Nigeria’s Tomi Agape, Kenya’s Maya Amolo, Ghana’s Supa Gaeta and more. To kick off this week, we’re recommending new music from Timi Dakolo, Bris B, Big Dragon (Efya) and more, for you to add to your playlist. You’re welcome.
Timi Dakolo – “Take” feat. Olamide
After a long but busy hiatus from dropping music, Timi Dakolo returned with last November’s ‘Merry Christmas, Darling’, a festive season-themed album with high profile features from Emeli Sande, Kenny G and Eric Benet. Continuing his comeback, the singer has returned with “Take”, a new single that pronounces the afropop-leaning direction of his previous hits like “Iyawo Mi”.
The bouncy, percussive Pheelz-produced beat serves as the perfect sonic companion for Timi’s romantic set where he admires his lover’s attributes and offers her anything she wants. While “Take” also features an impressive guest verse from Olamide, it’s Busola Dakolo who undoubtedly steals the show with her radiant appearance as the video’s central. While the couple have always acted as on-screen love interests, it is especially heartwarming to see them in high spirits, after the controversy from last year.
Big Dragon (Efya) – “=v=N IF”
Under her new alter ego, Big Dragon, Efya is dropping music at breakneck pace. In the last few weeks, the Ghanaian singer has been littering her SoundCloud page with attention-worthy songs, probably a positive sign that we should be getting a full-length follow-up to her 2016 album, ‘Janesis’. “=v=N IF” (pronounced “Even If”), her latest single, is an R&B-infused cut about being addicted to a love interest. Over Kuvie’s booming drums and soft piano keys, Efya sings of her undying affection, channelling her sentiments through bright melodies and an impassioned vocal cadence.
Bris B – “2g1c” feat. Fuji
Bris B has been quiet, and apart from his standout feature on Vector’s “The Man with a Gun”, the former L.O.S member was AWOL in 2019, but he’s kicked off this year in remarkable fashion with a new single, “2g1c”. Similar to the Santi-assisted “Supa Sigh”, Bris B takes a raunchy direction for “2g1c”, which comes as no surprise since the song’s title is an acronym for “2 girls 1 cup”. Against a dreamy backdrop, Bris flaunts his sexual appeal and his appetite for a threesome. He’s joined by Fuji, whose deep-voiced delivery nicely contrasts with his gruffy, vibrating vocals.
ICTOOICY – “Alive”
Under a month ago, ICTOOICY released her first song of the year, and it seems as though she has no plans to slow down. ICTOOICY’s intuitive songwriting makes it such that regardless of whether you can relate to her exact situation or not, you can feel the emotion in her tracks. This is what makes her frequent releases so special, and today, she has given us another one, “Alive”, which true to her typical form is emotive and raw. With her smooth vocals, she sings about needing to be alive to be able to love and be loved, as she battles whether her lover wants her or not.
Tulenkey – “Ghetto Boy” feat. Kelvyn Boy & Medikal
When he’s not being humorous, Tulenkey’s music is an avenue for him to reflect his surroundings and his ambitions. Unlike the cinematic feel of “Yard”, previous NATIVE best new music entry, his latest single “Ghetto Boy” borrows from his reality without any filters. On the catchy song, Tulenkey relays how his humble upbringing fuels his grind to keep getting money, using it as the relatable point for an inspirational anthem. Kelvyn Boy sings the impressive hook, while Medikal drops a guest verse that follows the same upwardly mobile template laid down at the start of the song.
Kwesi Arthur – “Why (Nana Ama)”
Kwesi Arthur possesses an impressive range, both musically and thematically. His 2019 project, ‘Live From Nkrumah Krom, Vol. II’, showcased the Ghanaian artist’s adeptness at singing and rapping. While Kwesi’s last single, “Revolution Sound”, was politically charged and featured charged rap lyrics, he takes a turn toward easy-listening lyrics on his new single, “Why (Nana Ama)”. On “Why”, Kwesi confronts a love interest about her toxic behaviours and how much she’s drained out of him since they got together. “Oh but you really change o, you want make i kpeme [die] so you jubilate o”, he sings over the slow-burning instrumentation, conveying bitterness in his lyrics and heavy melody.
Featured Image Credits: YouTube/Timi Dakolo
[mc4wp_form id=”26074″]
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
